Trace the development of the early documentary film career of Jean Rouch. What were his objectives as an ethnographic filmmaker during the 1950s? What formal techniques did he use to express these objectives? Explain how Rouch modified his ethnographic project in the 1961 film Chronicle of a Summer. In what ways does Chronicle of a Summer pose an alternative to the "uncontrolled" techniques of American "cinema vérité" or Direct Cinema?

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