Jean Rouch (French:[ʁuʃ]; 31 May 1917, Paris – 18 February 2004, Niger) was a French filmmaker and anthropologist.
He is considered to be one of the founders of cinéma-vérité in France, which shared the aesthetics of the direct cinema spearheaded by Richard Leacock, D.A. Pennebaker and Albert and David Maysles. Rouch's practice as a filmmaker for over sixty years in Africa, was characterized by the idea of shared anthropology. Influenced by his discovery of surrealism in his early twenties, many of his films blur the line between fiction and documentary, creating a new style of ethnofiction. He was also hailed by the French New Wave as one of theirs. His seminal film Me a Black (Moi, un noir) pioneered the technique of jump cut popularized by Jean-Luc Godard. Godard said of Rouch in the Cahiers du Cinéma (Notebooks on Cinema) n°94 April 1959, "In charge of research for the Musée de l'Homme (French, "Museum of Man") Is there a better definition for a filmmaker?" Along his career, Rouch was no stranger to controversy. He would often repeat, "Glory to he who brings dispute."
Paris Cinéma | Jean Rouch à propos de "Petit à petit"
"Jean Rouch à propos de son film "Petit à petit"", documentaire de Alain Esmery (2004).
Court entretien réalisé le 29 mars 1989 par Agnès Wildenstein dans lequel le réalisateur Jean Rouch évoque le tournage de son film "Petit à Petit".
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Le Forum des images : au centre de Paris, bat le cœur du 7e art !
Découvrez Paris Cinéma Région, le site du cinéma à Paris et en Île-de-France : http://www.pariscinemaregion.fr/
Toute la programmation : http://www.forumdesimages.fr/
@forumdesimages et #forumdesimages
published: 03 Apr 2017
What is Cinéma Vérité? - Chronicle of a Summer
Jean Rouch and Edgar Morin's Chronicle of a Summer is out now on Blu-ray and DVD: http://www.criterion.com/films/28394-chronicle-of-a-summer
published: 28 Feb 2013
Horendi (1972) Jean Rouch; Documentary on African Dance Ritual
published: 10 Mar 2016
Jean Rouch, caméra au poing
Jean Rouch aurait eu 100 ans cette année. Entrée Libre revient sur cette figure emblématique du cinéma-vérité aussi explorateur, ethnographe et photographe, autour de ses plus grands film « Chronique d’un été », « Les Maîtres fous » ou encore « Moi, un noir » qui ont marqué le 7e art à l’aube de la nouvelle vague.
published: 20 Dec 2017
"Jaguar" Trailer
"Jaguar"
A film by Jean Rouch / 1967 / An Icarus Films Release
http://www.icarusfilms.com/if-rouch
One of Jean Rouch's classic ethnofictions, JAGUAR follows three young Songhay men from Niger--Lam Ibrahim, Illo Goudel'ize, and the legendary performer Damouré Zika--on a journey to the Gold Coast (modern day Ghana).
Drawing from his own fieldwork on intra-African migration, the results of which he published in the 1956 book Migrations au Ghana, Rouch collaborated with his three subjects on an improvisational narrative. The four filmed the trip in mid-1950s, and reunited a few years later to record the sound, the participants remembering dialogue and making up commentary. The result is a playful film that finds three African men performing an ethnography of their own culture.
JAGUAR begins...
"Jean Rouch à propos de son film "Petit à petit"", documentaire de Alain Esmery (2004).
Court entretien réalisé le 29 mars 1989 par Agnès Wildenstein dans leq...
"Jean Rouch à propos de son film "Petit à petit"", documentaire de Alain Esmery (2004).
Court entretien réalisé le 29 mars 1989 par Agnès Wildenstein dans lequel le réalisateur Jean Rouch évoque le tournage de son film "Petit à Petit".
---
Le Forum des images : au centre de Paris, bat le cœur du 7e art !
Découvrez Paris Cinéma Région, le site du cinéma à Paris et en Île-de-France : http://www.pariscinemaregion.fr/
Toute la programmation : http://www.forumdesimages.fr/
@forumdesimages et #forumdesimages
"Jean Rouch à propos de son film "Petit à petit"", documentaire de Alain Esmery (2004).
Court entretien réalisé le 29 mars 1989 par Agnès Wildenstein dans lequel le réalisateur Jean Rouch évoque le tournage de son film "Petit à Petit".
---
Le Forum des images : au centre de Paris, bat le cœur du 7e art !
Découvrez Paris Cinéma Région, le site du cinéma à Paris et en Île-de-France : http://www.pariscinemaregion.fr/
Toute la programmation : http://www.forumdesimages.fr/
@forumdesimages et #forumdesimages
Jean Rouch aurait eu 100 ans cette année. Entrée Libre revient sur cette figure emblématique du cinéma-vérité aussi explorateur, ethnographe et photographe, aut...
Jean Rouch aurait eu 100 ans cette année. Entrée Libre revient sur cette figure emblématique du cinéma-vérité aussi explorateur, ethnographe et photographe, autour de ses plus grands film « Chronique d’un été », « Les Maîtres fous » ou encore « Moi, un noir » qui ont marqué le 7e art à l’aube de la nouvelle vague.
Jean Rouch aurait eu 100 ans cette année. Entrée Libre revient sur cette figure emblématique du cinéma-vérité aussi explorateur, ethnographe et photographe, autour de ses plus grands film « Chronique d’un été », « Les Maîtres fous » ou encore « Moi, un noir » qui ont marqué le 7e art à l’aube de la nouvelle vague.
"Jaguar"
A film by Jean Rouch / 1967 / An Icarus Films Release
http://www.icarusfilms.com/if-rouch
One of Jean Rouch's classic ethnofictions, JAGUAR follows th...
"Jaguar"
A film by Jean Rouch / 1967 / An Icarus Films Release
http://www.icarusfilms.com/if-rouch
One of Jean Rouch's classic ethnofictions, JAGUAR follows three young Songhay men from Niger--Lam Ibrahim, Illo Goudel'ize, and the legendary performer Damouré Zika--on a journey to the Gold Coast (modern day Ghana).
Drawing from his own fieldwork on intra-African migration, the results of which he published in the 1956 book Migrations au Ghana, Rouch collaborated with his three subjects on an improvisational narrative. The four filmed the trip in mid-1950s, and reunited a few years later to record the sound, the participants remembering dialogue and making up commentary. The result is a playful film that finds three African men performing an ethnography of their own culture.
JAGUAR begins at the marketplace in Ayouru, Niger where the three men work. Seeing a group of men just returned from the Gold Coast, where many Nigeriens have migrated for job opportunities, they decide to make their way to Accra. They leave on foot, following the old slave and warrior routes through the bush.
Lam heads to Kumasi with a Fulani herdsman, while the other two men try their fortunes in Accra. Damouré quickly rises through the ranks at a lumberyard. He makes money, and learns the ways of the city, becoming a cool, urban sophisticate - or "jaguar." Unable to read, Illo makes much less money as a laborer in the port, and is forced to sleep outside. Both discover the lures and snares of the city: alcohol and bar life, abundant romantic opportunity, and naked social inequality.
Having earned some money, and gotten their fill of Accra, Illo and Damouré leave Accra to join Lam in Kumasi. Drawing on their newfound urbanity, they open a hip marketplace stall together, called "Little by Little the Bird Makes Its Bonnet". They return to Niger full of experience, tall tales, and more money than they would have made at home.
Driven by Rouch's notion of "shared ethnography", JAGUAR offers a more complex portrait of African life than most Western films. The collaboration between filmmaker and subjects reveals a wide range of ethnic, geographic, and cultural differences within just a small piece of the African continent, as well as the social changes and patterns of migration that defined mid-century African life. More than plain ethnography, Rouch and his collaborators have created a new kind of myth.
"Exhuberant...In its spontaneous good humor, it is like something the Beatles might have made." —Karl G. Heider, Ethnographic Film
"Rouch's most thorough examination of the African experience under the colonial regime, and an early example of his concept of provocation, the practice in which the camera's presence is intended to cause those being filmed to react, thus creating, rather than merely recording, events." —Matt Losada, Senses of Cinema
"Infused with what Italo Calvino called the brilliance of "lightness"... Rouch forces us to confront a wide array of colonialist assumptions: that in their "backwardness" Africans have no sense of the wanderlust; that in their "backwardness" Africans do not extract wisdom from their journeys. With great humor, JAGUAR shatters our expectations." —Paul Stoller, Visual Anthropology Review
2012 African Studies Association Conference
"Jaguar"
A film by Jean Rouch / 1967 / An Icarus Films Release
http://www.icarusfilms.com/if-rouch
One of Jean Rouch's classic ethnofictions, JAGUAR follows three young Songhay men from Niger--Lam Ibrahim, Illo Goudel'ize, and the legendary performer Damouré Zika--on a journey to the Gold Coast (modern day Ghana).
Drawing from his own fieldwork on intra-African migration, the results of which he published in the 1956 book Migrations au Ghana, Rouch collaborated with his three subjects on an improvisational narrative. The four filmed the trip in mid-1950s, and reunited a few years later to record the sound, the participants remembering dialogue and making up commentary. The result is a playful film that finds three African men performing an ethnography of their own culture.
JAGUAR begins at the marketplace in Ayouru, Niger where the three men work. Seeing a group of men just returned from the Gold Coast, where many Nigeriens have migrated for job opportunities, they decide to make their way to Accra. They leave on foot, following the old slave and warrior routes through the bush.
Lam heads to Kumasi with a Fulani herdsman, while the other two men try their fortunes in Accra. Damouré quickly rises through the ranks at a lumberyard. He makes money, and learns the ways of the city, becoming a cool, urban sophisticate - or "jaguar." Unable to read, Illo makes much less money as a laborer in the port, and is forced to sleep outside. Both discover the lures and snares of the city: alcohol and bar life, abundant romantic opportunity, and naked social inequality.
Having earned some money, and gotten their fill of Accra, Illo and Damouré leave Accra to join Lam in Kumasi. Drawing on their newfound urbanity, they open a hip marketplace stall together, called "Little by Little the Bird Makes Its Bonnet". They return to Niger full of experience, tall tales, and more money than they would have made at home.
Driven by Rouch's notion of "shared ethnography", JAGUAR offers a more complex portrait of African life than most Western films. The collaboration between filmmaker and subjects reveals a wide range of ethnic, geographic, and cultural differences within just a small piece of the African continent, as well as the social changes and patterns of migration that defined mid-century African life. More than plain ethnography, Rouch and his collaborators have created a new kind of myth.
"Exhuberant...In its spontaneous good humor, it is like something the Beatles might have made." —Karl G. Heider, Ethnographic Film
"Rouch's most thorough examination of the African experience under the colonial regime, and an early example of his concept of provocation, the practice in which the camera's presence is intended to cause those being filmed to react, thus creating, rather than merely recording, events." —Matt Losada, Senses of Cinema
"Infused with what Italo Calvino called the brilliance of "lightness"... Rouch forces us to confront a wide array of colonialist assumptions: that in their "backwardness" Africans have no sense of the wanderlust; that in their "backwardness" Africans do not extract wisdom from their journeys. With great humor, JAGUAR shatters our expectations." —Paul Stoller, Visual Anthropology Review
2012 African Studies Association Conference
"Jean Rouch à propos de son film "Petit à petit"", documentaire de Alain Esmery (2004).
Court entretien réalisé le 29 mars 1989 par Agnès Wildenstein dans lequel le réalisateur Jean Rouch évoque le tournage de son film "Petit à Petit".
---
Le Forum des images : au centre de Paris, bat le cœur du 7e art !
Découvrez Paris Cinéma Région, le site du cinéma à Paris et en Île-de-France : http://www.pariscinemaregion.fr/
Toute la programmation : http://www.forumdesimages.fr/
@forumdesimages et #forumdesimages
Jean Rouch aurait eu 100 ans cette année. Entrée Libre revient sur cette figure emblématique du cinéma-vérité aussi explorateur, ethnographe et photographe, autour de ses plus grands film « Chronique d’un été », « Les Maîtres fous » ou encore « Moi, un noir » qui ont marqué le 7e art à l’aube de la nouvelle vague.
"Jaguar"
A film by Jean Rouch / 1967 / An Icarus Films Release
http://www.icarusfilms.com/if-rouch
One of Jean Rouch's classic ethnofictions, JAGUAR follows three young Songhay men from Niger--Lam Ibrahim, Illo Goudel'ize, and the legendary performer Damouré Zika--on a journey to the Gold Coast (modern day Ghana).
Drawing from his own fieldwork on intra-African migration, the results of which he published in the 1956 book Migrations au Ghana, Rouch collaborated with his three subjects on an improvisational narrative. The four filmed the trip in mid-1950s, and reunited a few years later to record the sound, the participants remembering dialogue and making up commentary. The result is a playful film that finds three African men performing an ethnography of their own culture.
JAGUAR begins at the marketplace in Ayouru, Niger where the three men work. Seeing a group of men just returned from the Gold Coast, where many Nigeriens have migrated for job opportunities, they decide to make their way to Accra. They leave on foot, following the old slave and warrior routes through the bush.
Lam heads to Kumasi with a Fulani herdsman, while the other two men try their fortunes in Accra. Damouré quickly rises through the ranks at a lumberyard. He makes money, and learns the ways of the city, becoming a cool, urban sophisticate - or "jaguar." Unable to read, Illo makes much less money as a laborer in the port, and is forced to sleep outside. Both discover the lures and snares of the city: alcohol and bar life, abundant romantic opportunity, and naked social inequality.
Having earned some money, and gotten their fill of Accra, Illo and Damouré leave Accra to join Lam in Kumasi. Drawing on their newfound urbanity, they open a hip marketplace stall together, called "Little by Little the Bird Makes Its Bonnet". They return to Niger full of experience, tall tales, and more money than they would have made at home.
Driven by Rouch's notion of "shared ethnography", JAGUAR offers a more complex portrait of African life than most Western films. The collaboration between filmmaker and subjects reveals a wide range of ethnic, geographic, and cultural differences within just a small piece of the African continent, as well as the social changes and patterns of migration that defined mid-century African life. More than plain ethnography, Rouch and his collaborators have created a new kind of myth.
"Exhuberant...In its spontaneous good humor, it is like something the Beatles might have made." —Karl G. Heider, Ethnographic Film
"Rouch's most thorough examination of the African experience under the colonial regime, and an early example of his concept of provocation, the practice in which the camera's presence is intended to cause those being filmed to react, thus creating, rather than merely recording, events." —Matt Losada, Senses of Cinema
"Infused with what Italo Calvino called the brilliance of "lightness"... Rouch forces us to confront a wide array of colonialist assumptions: that in their "backwardness" Africans have no sense of the wanderlust; that in their "backwardness" Africans do not extract wisdom from their journeys. With great humor, JAGUAR shatters our expectations." —Paul Stoller, Visual Anthropology Review
2012 African Studies Association Conference
Jean Rouch (French:[ʁuʃ]; 31 May 1917, Paris – 18 February 2004, Niger) was a French filmmaker and anthropologist.
He is considered to be one of the founders of cinéma-vérité in France, which shared the aesthetics of the direct cinema spearheaded by Richard Leacock, D.A. Pennebaker and Albert and David Maysles. Rouch's practice as a filmmaker for over sixty years in Africa, was characterized by the idea of shared anthropology. Influenced by his discovery of surrealism in his early twenties, many of his films blur the line between fiction and documentary, creating a new style of ethnofiction. He was also hailed by the French New Wave as one of theirs. His seminal film Me a Black (Moi, un noir) pioneered the technique of jump cut popularized by Jean-Luc Godard. Godard said of Rouch in the Cahiers du Cinéma (Notebooks on Cinema) n°94 April 1959, "In charge of research for the Musée de l'Homme (French, "Museum of Man") Is there a better definition for a filmmaker?" Along his career, Rouch was no stranger to controversy. He would often repeat, "Glory to he who brings dispute."
Last time I she'd a tear, was when my father died But now he's good up in the skies So I'm gonna make this song crack I see them haters looking at me Tryna indict my soul Tryna read me, tryna see what I know, haha but no Feel the night I got no pain to share with you, all right Though we can share it, about to live your life Living along, just enjoy your life, enjoy your life Celebrate in the name of love Celebrate in the name of love Never felt this good Don't you worry I'm feeling like I should, ooh woah Never felt this good Don't you worry, oh oh oh Never felt this good Don't you worry I'm feeling like I should, ooh woah Never felt this good Don't you worry, oh oh oh Cante y no llores, el amor es lleno dolores mami I want you to listen, don't hear me I want you respect me, don't feel me This life is crazy, baby, Now I want you near me, help me Cuba, miami to paris, life is short, let's cherish I'mma kill this, make love to you, With you and your girl on top of the terrace I'mma feel this, and since my father died Baby, I'm tearless, I see the future But I live for the moment Makes and astoments Time is money I don't know about you, but I own it dale Feel the vibe Now we can done it here, you soaked tonight Let's take it higher, fly the satellite No one can take away my inner life, inner life Celebrate in the name of love Celebrate in the name of love Never felt this good Don't you worry I'm feeling like I should, ooh woah Never felt this good Don't you worry, oh oh oh Never felt this good Don't you worry I'm feeling like I should, ooh woah Never felt this good
He graduated from the Louis Lumière College in Paris, and studied the third cinema course at the Sorbonne with Jean Rouch, after working in the field of advertising, radio and Moroccan television ... ....
Jud Rouch ... Rouch had purchased some land that was out by Plum St ... He wanted to donate this land in memory of his wife BettyJean Rouch ... Jud asked that the park would be named the Betty Jean Rouch Park.
In past years, these films have introduced participants in the seminar to now-famous directors like John Cassavetes and Jean Rouch before they became widely known ... This is the first time Skidmore will host Flaherty ... Guggenheim Museum web collection.
Again in 1946, three Frenchmen, Jean Sauvy, Pierre Ponty and movie maker Jean Rouch, became the first to set out to travel the entire length of the river, from the beginning of the river near Kissidougou in Guinea to the ocean on March 25, 1947... .
“In fact, it was a sentence that I read in a newspaper that caught my attention ... Q ... Diop ... Q ... Q ... Something happened during the casting when Alice told me to be a woman called Mary Lou in Jean Rouch’s movie "Chronique d’un ete" ("Chronicle of a Summer") ... Q ... .
BettyJean Rouch McConnell, the second of three daughters and one son born to Frank and Alma Rouch, went to be with the Lord on Sept. 1, 2022, after a short illness. She was 92 years old ... .
Finger Lakes Times
12 Jan 2023
Finger Lakes Times
12 Jan 2023