Cinema Verite
Literally film truth, was a style of film making developed by French film directors in the 1960’s. The cinema verite directors used non-actors, small hand- held cameras, and actual homes and surroundings as their location for a film.
The films are usually shot without a script and assembled later in editing.
But the key difference between the Hollywood-type fiction/fantasy film and the cinema verite film is the respective goals of each. the cinema verite film is aimed at showing the mundane truth of peoples’ everyday lives and the social context in which they live their lives. Cinema verite is part of the broader artistic tradition of realism and the cinematic tradition of documentary film making. Realism and cinema verite try to show man as he is and the world as it is because the film maker often has a social conscience and sometimes a political agenda. His purpose is to enlighten his audience, to show them the truth a he sees it, so they will have the information they need to live better lives or to, in some cases, to take political action to right the wrongs the film maker often exposes.
Road Movie
The genre has its roots in spoken and written tales of epic journeys, such as the Odyssey and the Aeneid. The road film is a standard plot employed by screenwriters. It is a kind of bildungsroman, a kind of story in which the hero changes, grows or improves over the course of the story.
The on-the-road plot was used at the birth of American cinema but blossomed in the years after World War II, reflecting a boom in automobile production and the growth of youth culture. Even so, awareness of the "road picture" as a genre came only in the 1960s with Easy Rider and Bonnie and Clyde.
Like their antecedents, the road movie tends towards an episodic structure. In each episode, there is a challenge to be met, although not all of them will be met successfully. In most episodes, a piece of the plot is revealed - knowledge or allies are gained, and so on. Sometimes, as in Heart of Darkness, this progress is inverted, and each episode represents a loss rather than a gain.
Road movies traditionally end in one of five ways:
having met with triumph at their ultimate destination, the protagonist(s) return home, wiser for their experiences.
at the end of the journey, the protagonist(s) find a new home at their destination.
the journey continues endlessly.
having realised that as a result of their journey they can never go home, the protagonists either choose death or are killed.
the film ends without any implication of further jaunt.
