a similar feeling of real life unfolding before the viewer's eyes. There is also a mutual concern with social and ethical questions. Both cinéma vérité and direct cinema rely on the power of editing to give shape, structure and meaning to the material recorded. Some film historians have characterized the direct cinema movement as a North American version of the cinéma vérité movement. The latter was exemplified in France with Jean Rouch's Chronicle of a Summer (1961). For these historians cinéma vérité is characterized by the use of the camera to provoke and reveal. Direct cinema, on the other hand, has been seen as more strictly observational. It relies on an agreement among the filmmaker, subjects and audience to act as if the presence of the camera does not substantially alter the recorded event. Such claims of non-intervention have been criticized by critics and historians. Filmmakers' opinions In a 2003 interview (Zuber), Robert Drew explained how he saw the differences between cinéma vérité and direct cinema: Jean Rouch claimed cinéma vérité came from Brault and the NFB. Yet the NFB pioneers of the form Brault, Pierre Perrault and the others, never used the term cinéma vérité to describe their work and, in fact, found the term pretentious. They preferred "Cinéma Direct". Cinema vérité, the phrase and the form, can thus be seen as France's spin on the idea of the Cinéma Direct of Brault and his colleagues of the French section of the NFB in Canada. Cinéma vérité came to be a term applied in English to everything from a school of thought, to a film style, and a look adopted by commercials. Examples of direct cinema documentaries On the Bowery – Lionel Rogosin, 1956 (docufiction) Crisis: Behind a Presidential Commitment – Robert Drew, 1963 The Chair – Robert Drew, 1963 The Mills of the Gods: Viet Nam – Beryl Fox, 1965 Meet Marlon Brando – Albert and David Maysles, 1966 Dont Look Back – D. A. Pennebaker, 1967 Titicut Follies – Frederick Wiseman, 1967 Chiefs – Richard Leacock, 1968 Kid Sentiment - Jacques Godbout, 1968 Salesman – Albert and David Maysles, Charlotte Zwerin, 1969 Gimme Shelter – Albert and David Maysles, Charlotte Zwerin, 1970 Tread – Richard Leacock, 1972 Grey Gardens – Albert and David Maysles, 1976 Brothers' Keeper – Joe Berlinger and Bruce Sinofsky, 1992 Neukölln Unlimited – Agostino Imondi and Dietmar Ratsch, 2010 Sofia's Last Ambulance –