Linked Data Explorer

"A young filmmaker attempts to understand his life by recording it on film, only to have his experiment turn into an alienating voyeuristic obsession."@en
"A young filmmaker attempts to understand his life by recording it on film, only to have his experiment turn into an alienating voyeuristic obsession."
"On the theory that "cinema is truth 24 times a second" David Holzman sets out on a self-identity search, filming his life in diary form. The project gets out of control and overwhelms him; he alienates his friends, loses the woman he loves, and frightens himself."
"In a spoof of cinema vérité, this film purports to be a filmic diary of one week in the life of filmmaker David Holzman (L.M. Kit Carson). Holzman, a fictitious character, constantly films himself. The Nagra sound recorder is seen in the frame recording while he speaks into a microphone. The film begins with Holzman stating the date: "This is July 14, 1967," and ruminating on his recently receiving an A-1 draft notice. He quotes Godard's maxim "What is truth--24 times a second." Holzman decides to make a diary of his daily life. He drives along W. 71st Street in New York, describing the famous houses. Back at his apartment, he points to photographs of his girlfriend Penny (Eileen Dietz) and describes her characteristics. When she arrives for a visit, he follows her with his camera and tells her how to move. She avoids looking into the camera, and tells him to stop filming her. After Penny leaves, Holzman muses over Penny's refusal to be in his film. He pontificates on the impossibility of creating a true diary documentary, since once an event is filmed, it is no longer reality. Holzman films Penny sleeping; she awakens, enraged at his filming her, and storms out. Now that his mirror-object is no longer accessible, Holzman begins filming unknown women on the street. One comes on to him; another, annoyed at his following her, turns to him and tells him to beat it. Penny breaks up with him, and Holzman begins losing faith in film. At night, he goes to Penny's apartment and films it from the outside. A cop catches him, and takes him upstairs to Penny. She sends the cop away, and then Holzman. The end of the film diary is forced when someone steals his film equipment while he is away at a funeral. Holzman's last sentiment is that he wishes he could have learned something from the film."
"Shot in 1967, David Holzman's diary is a milestone in contemporary film history and a landmark piece of independent cinema verité; arguably the first 'mockumentary' in which McBride sets out to investigate Godard's claim that "film is truth at 24 frames per second". David hopes that filming his life will bring it into some kind of focus; in fact the filming of his life begins to take over his life. Also includes the intensely personal film 'My Girlfriend's Wedding', in which McBride's British girlfriend Clarissa decides to marry another man for a green card."@en
"A filmmaker attempts to understand his life by recording it on film, only to have his experiment turn into an alienating, voyeuristic obsession."@en
"A cinéma vérité drama about a serious young filmmaker who turns the camera on his own life."
"This landmark 1967 faux-documentary finds recently dumped David Holzman (Kit Carson) unloading comic-neurotic monologues straight to the camera. Filmed like cinema verite, it's a well-disguised fiction about the deceptions of cinematic illusionism and the lies we tell ourselves in order to live. New York Times Critics Pick."@en
"Presents a cinema-verite look-alike armed with an Eclair camera, a Nagra recorder and a belief in the Godardian dictum: "Film is truth twenty-four times a second." Out of a job, classified 1-A for draft readiness and with a personal relationship in jeopardy, David Holzman hopes that making a filmic journal of his life and environment will help him sort out the thornier conundrums of his existence."
"In this 1967 faux-documentary, a man tries to put all of his life experiences on celluloid. His insistence upon poking his camera where it isn't wanted results only in irritation, alienation, and a few bloody noses. As Holzman's life (and his film) becomes harder to follow, the audience is liable to be as confused as David, especially if they make the mistake of taking this whole thing seriously."
"In this 1967 faux-documentary, a man tries to put all of his life experiences on celluloid. His insistence upon poking his camera where it isn't wanted results only in irritation, alienation, and a few bloody noses. As Holzman's life (and his film) becomes harder to follow, the audience is liable to be as confused as David, especially if they make the mistake of taking this whole thing seriously. Filmed like cinema verite, it's a well-disguised fiction about the deceptions of cinematic illusionism and the lies people tell themselves in order to live."@en
"David Holzman, jeune new yorkais, vient de perdre son travail et se retrouve apte pour le Vietnam. Il décide de filmer son quotidien pour comprendre sa vie, les femmes, le sexe et l'Amérique et de capter sur pellicule la vérité de ce qui l'entoure. Mais cela ne sera pas sans incidence sur sa vie et celle de Penny sa petite amie... Avec L.M. Kit Carson, Penny Wohl, Lorenzo Mans, Louise Levine, Fern McBride, Michael Levine, Bob Lesser, Jack Baran."
"In a spoof of cinema vérité, this film purports to be a filmic diary of one week in the life of filmmaker David Holzman (L.M. Kit Carson). Holzman, a fictitious character, constantly films himself. The Nagra sound recorder is seen in the frame recording while he speaks into a microphone. The film begins with Holzman stating the date: "This is July 14, 1967," and ruminating on his recently receiving an A-1 draft notice. He quotes Godard's maxim "The cinema is truth 24 frames-per-second." Holzman decides to make a diary of his daily life. He drives along West 71st Street in New York, describing the famous houses. Back at his apartment, he points to photographs of his girlfriend Penny (Eileen Dietz) and describes her characteristics. When she arrives for a visit, he follows her with his camera and tells her how to move. She avoids looking into the camera, and tells him to stop filming her. After Penny leaves, Holzman muses over Penny's refusal to be in his film. He pontificates on the impossibility of creating a true diary documentary, since once an event is filmed, it is no longer reality. Holzman films Penny sleeping; she awakens, enraged at his filming her, and storms out. With Penny no longer available, Holzman begins filming unknown women on the street. One comes on to him; another, annoyed at his following her, turns to him and tells him to beat it. Penny breaks up with him, and Holzman begins losing faith in film. At night, he goes to Penny's apartment and films it from the outside. A cop catches him, and takes him upstairs to Penny. She sends the cop away, and then Holzman. The end of the film diary is forced when someone steals his film equipment while he is away at a funeral. Holzman's last sentiment is that he wishes he could have learned something from the film."@en

director

http://schema.org/director

http://worldcat.org/entity/person/id/2634159885

genre

http://schema.org/genre

"Film excerpts"@en
"Experimental films"
"Experimental films"@en
"Cinéma vérité"
"Feature films"
"Feature films"@en
"Parody films"
"Documentaries and factual films and video"
"Fiction films"
"Fiction films"@en
"Drama"@en
"Drama"
"Parodies, imitations, etc"@en
"Parodies, imitations, etc"
"Cinéma expérimental"
"DVD-Video"
"Belletristische Darstellung"
"Documentary-style films"
"Documentary-style films"@en
"Documentary films"
"Documentary films"@en
"Independent films"@en
"Personal/independent films"

name

http://schema.org/name

"David Holzman's diary (Film)"
"David Holzman's diary"
"David Holzman's diary"@en
"David Holzman's diary (Motion picture)"
"David Holzman's diary (Excerpt: [1967?])"@en
"David Holzman's Diary = Le journal de David Holzman"
"David Holzman's diary : a film"
"David Holzman's diary a film"@en
"David Holzman's diary a film"
"David Holzman's diary (Motion picture : 1967)"@en

performer

http://schema.org/performer

workExample

http://schema.org/workExample