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Director Lars von Trier at the centre of the picture. Dziga Vertov of course wrote several in the 1920s – this was after all a suitable means of expression in the revolutionary USSR – but they concerned documentary films.
Also Lindsay Anderson’s Free Cinema manifesto (1956) was directed at documentaries, but it influenced British feature films in the early 1960s as well.
The most obvious example of a film manifesto, probably, would be the Oberhausen Manifesto of 1962.
The short text, signed by 26 young German filmmakers, concluded with the proclamation: “The old film is dead.
He contacted his colleague Thomas Vinterberg, who had not yet made a feature film (he would do that the following year with , 1994), he was considered the most promising among the young Danish filmmakers. The Dogme 95 manifesto, if we sum up the important points of its method and philosophy, is directed at “certain tendencies” in contemporary film, offering a “rescue action” that is basically opposed to “the auteur concept” and “bourgeois” cinema: “We must put our films into uniform, because the individual film will be decadent by definition!
Trier invited him to be co-writer of the manifesto (the Vow of Chastity section) and member of a Dogme 95 group of filmmakers who could carry the new ideas into reality. ” In order to counter that, and in regard to a situation where “a technological storm is raging, the result of which will be the ultimate democratization of the cinema”, a set of rules, the so-called “Vow of Chastity”, is prescribed: 1) the shooting must be done on location and no props brought in; 2) the sound and images must be produced together; 3) the camera must be handheld; 4) the film must be in color; 5) optical work and filters are forbidden, as well as 6) superficial action; 7) the film must take place here and now; 8) genre films are not allowed; 9) the format must be Academy 35 mm, and 10) the director must not be credited.
century”. At any rate, Dogme – for one brief, shining moment – was the new buzzword that heralded an alternative approach to filmmaking and made contemporary Danish cinema unexpectedly famous.How is it possible to avoid “aesthetics” when you work in an aesthetic medium?And if you want the performance of the moment rather than the manipulated version, wouldn’t it be more logical to turn to the theatre with its here and now?It is also part of the anti-aesthetic tendency of the movement, ignoring “any good taste and any aesthetics.” The Dogme project is not without its paradoxes: Why demand technical primitiveness from a medium so much based on technology?
Why fight illusion and look for truth in fiction films, one could ask, when fiction by definition is illusion and invention – why not then make documentaries?Dogme is a search for truth, a rather abstract ambition.