Vigo’s speech at the launch of À propos de Nice can be seen as the first statement on what came to be known as the committed documentary. Using Luis Buñuel and Salvador Dalí’s Un chien andalou as an exemplar, Vigo goes on to argue for a form of committed documentary that strips away the falsities of newsreels and allows the fi lmmaker’s subjectivity and beliefs to be the guiding principle behind his or her work.


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