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Frederick Wiseman

January 01, 1970

Frederick Wiseman (born January 1, 1930) is an American filmmaker, documentarian, and theater director. His work is primarily about exploring American institutions.[1] In 2017, The New York Times called him "one of the most important and original filmmakers working today".[2]

Frederick Wiseman
Wiseman in June 2005
Born (1930-01-01) January 1, 1930 (age 94)
Boston, Massachusetts, U.S.
Alma materWilliams College (B.A., 1951)
Yale Law School (LL.B., 1954)
Occupation(s)director, producer
Years active1963-present
Spouse
Zipporah Batshaw
​
​
(m. 1955; died 2021)​
Children2

Early life edit

Wiseman was born to a Jewish family in Boston on January 1, 1930,[3][4] the son of Gertrude Leah (née Kotzen) and Jacob Leo Wiseman.[citation needed] He earned a Bachelor of Arts from Williams College in 1951, and a Bachelor of Laws from Yale Law School in 1954. He spent 1954 to 1956 serving in the U.S. Army after being drafted.[5] Wiseman spent the following two years in Paris, France before returning to the United States, where he took a job teaching law at the Boston University Institute of Law and Medicine. He then started documentary filmmaking, and has won numerous film awards as well as Guggenheim and MacArthur fellowships.[6][7]

Career edit

The first feature-length film Wiseman produced was The Cool World (1963). This was followed by Titicut Follies in 1967, which he produced and directed. He has both produced and directed all of his films since. They are chiefly studies of social institutions, such as hospitals, high schools, or police departments. All his films have aired on PBS, one of his primary funders.

Wiseman's films are often described as in the observational mode, which has its roots in direct cinema, but Wiseman dislikes the term:

What I try to do is edit the films so that they will have a dramatic structure. That is why I object to some extent to the term "observational cinema" or cinéma vérité, because observational cinema, to me at least, connotes just hanging around with one thing being as valuable as another, and that is not true. At least, that is not true for me, and cinéma verité is just a pompous French term that has absolutely no meaning as far as I'm concerned.

Wiseman has been known to call his films "Reality Fictions".[7]

Philosophy edit

 
Wiseman at Kansas State University in 1971

Wiseman's films are, in his view, elaborations of a personal experience and not ideologically objective portraits of his subjects.

In interviews, Wiseman has emphasized that his films are not and cannot be unbiased. In spite of the inescapable bias that is introduced in the process of "making a movie", he still feels he has certain ethical obligations as to how he portrays events:

[My films are] based on unstaged, un-manipulated actions... The editing is highly manipulative and the shooting is highly manipulative... What you choose to shoot, the way you shoot it, the way you edit it and the way you structure it... all of those things... represent subjective choices that you have to make. In [Belfast, Maine] I had 110 hours of material ... I only used 4 hours – near nothing. The compression within a sequence represents choice and then the way the sequences are arranged in relationship to the other represents choice.[7]
All aspects of documentary filmmaking involve choice and are therefore manipulative. But the ethical ... aspect of it is that you have to ... try to make [a film that] is true to the spirit of your sense of what was going on. ... My view is that these films are biased, prejudiced, condensed, compressed but fair. I think what I do is make movies that are not accurate in any objective sense, but accurate in the sense that I think they're a fair account of the experience I've had in making the movie.[8]
I think I have an obligation to the people who have consented to be in the film, ... to cut it so that it fairly represents what I felt was going on at the time in the original event.[9]

Process and style edit

Wiseman works four to six weeks in the institutions he portrays, with almost no preparation. He spends the bulk of the production period editing the material, trying to find a rhythm to make a movie.

Every Wiseman film has a dramatic structure, though not necessarily a narrative arc; his films rarely have what could be considered a distinct climax and conclusion. He likes to base his sequence structure with no particular thesis or point of view in mind.[10] Any suspense is on a per-scene level, not constructed from plot points, and there are no characters with whom the viewer is expected to identify. Nevertheless, Wiseman feels that drama is a crucial element for his films to "work as movies" (Poppy). The "rhythm and structure" (Wiseman) of Wiseman's films pull the viewer into the position and perspective of the subject (human or otherwise). The viewer feels the dramatic tension of the situations portrayed, as various environmental forces create complicated situations and conflicting values for the subject.

Wiseman openly admits to manipulating his source material to create dramatic structure, and indeed insists that it is necessary to "make a movie":

I'm trying to make a movie. A movie has to have dramatic sequence and structure. I don't have a very precise definition about what constitutes drama, but I'm gambling that I'm going to get dramatic episodes. Otherwise, it becomes Empire. ... I am looking for drama, though I'm not necessarily looking for people beating each other up, shooting each other. There's a lot of drama in ordinary experiences. In Public Housing, there was drama in that old man being evicted from his apartment by the police. There was a lot of drama in that old woman at her kitchen table peeling a cabbage.[11]

Wiseman has said that the structure of his films is important to the overall message:

Well, it's the structural aspect that interests me most, and the issue there is developing a theory that will relate these isolated, nonrelated sequences to each other. That is partially, I think, related to figuring out how it either contradicts or adds to or explains in some way some other sequence in the film. Then you try to determine the effect of a particular sequence on that point of view of the film.[12]

A distinctive aspect of Wiseman's style is the complete lack of exposition (narration), interaction (interviews), and reflection (revealing any of the filmmaking process). Wiseman has said that he does not "feel any need to document [his] experience" and that he feels that such reflexive elements in films are vain.[13]

While producing a film, Wiseman often acquires more than 100 hours of raw footage. His ability to create an engaging and interesting feature-length film without the use of voice-over, title cards, or motion graphics, while still being "fair", has been described as the reason Wiseman is seen as a true master of documentary film.

This great glop of material which represents the externally recorded memory of my experience of making the film is of necessity incomplete. The memories not preserved on film float somewhat in my mind as fragments available for recall, unavailable for inclusion but of great importance in the mining and shifting process known as editing. This editorial process ... is sometimes deductive, sometimes associational, sometimes non-logical and sometimes a failure... The crucial element for me is to try and think through my own relationship to the material by whatever combination of means is compatible. This involves a need to conduct a four-way conversation between myself, the sequence being worked on, my memory, and general values and experience.

Credits edit

Film edit

Theatre edit

In addition to his better known film work, Wiseman has also directed and been involved in theater, in the US and France.[15]

  • Emily Dickinson, La Belle d’Amherst (The Belle of Amherst) by William Luce. Le Théâtre Noir, Paris, Director, May–July 2012[16]
  • Oh les beaux jours by Samuel Beckett. La Comédie Française, Paris. Director, November – January 2006; Director & Actor, Jan–March 2007.
  • The Last Letter an adaptation from the novel Life and Fate by Vasily Grossman
    • Theatre for a New Audience, New York. Director, December 2003
    • North American Tour with La Comédie Française production (Ottawa/Toronto, Canada; Cambridge/Springfield, MA; New York, NY; Chicago, IL) Director, May–June 2001
    • La Comédie Française, Paris. Director, March–April 2000, September–November 2000
  • Welfare: The Opera, story by Frederick Wiseman and David Slavitt, libretto by David Slavitt, music by Lenny Pickett.
  • Hate by Joshua Goldstein. American Repertory Theatre, Cambridge. Director, January 1991
  • Tonight We Improvise by Luigi Pirandello. American Repertory Theatre, Cambridge. Director of video sequences and actor in role of documentary filmmaker, November 1986 – February 1987

Accolades edit

In 2003, Wiseman received the Dan David Prize for his films.[17] In 2006, he received the George Polk Career Award, given annually by Long Island University to honor contributions to journalistic integrity and investigative reporting. In spring 2012, Wiseman actively took part in the three-month exposition of the Whitney Biennial.[18] In 2014, he was awarded the Golden Lion for Lifetime Achievement at the 71st Venice International Film Festival.[19] In 2016, Wiseman received an Academy Honorary Award from the Academy of Motion Picture Arts and Sciences.[20]

References edit

  1. ^ Philippe Pilard (August 26, 2012). . La Sept/Arte. Archived from the original on May 6, 2017.
  2. ^ Scott, A.O.; Dargis, Manohla (April 6, 2017). "Frederick Wiseman: The Filmmaker Who Shows Us Ourselves". The New York Times. ISSN 0362-4331. from the original on April 17, 2017. Retrieved September 3, 2017.
  3. ^ The Jewish news of Northern California: "The tribe goes to the Oscars" March 31, 2019, at the Wayback Machine by Nate Bloom. February 13, 2017
  4. ^ "Wiseman, Frederick". Encyclopedia.com. May 23, 2018. Retrieved December 28, 2023.
  5. ^ Hynes, Eric (July 11, 2022). "Frederick Wiseman - Journal". Metrograph. Retrieved September 13, 2023.
  6. ^ Frederick Wiseman (biography) March 7, 2016, at the Wayback Machine, The New York Times, December 20, 2014
  7. ^ a b c Aftab and Weltz, Interview with Frederick Wiseman
  8. ^ Spotnitz, Frank (May 1991). "Dialogue on film". American Film. 16 (5): 16–21.
  9. ^ Poppy, Nick (January 30, 2002). . Salon.com. Archived from the original on January 15, 2008.
  10. ^ Eric, Hynes. "Metrograph Edition". Metrograph. from the original on August 5, 2020. Retrieved April 30, 2020.
  11. ^ Peary, Gerald (March 1998). "Frederick Wiseman". from the original on October 17, 2007. Retrieved November 12, 2007.
  12. ^ Benson, Thomas (1980). "The Rhetorical Structure of Frederick Wiseman's High School". Communication Monographs. 47 (4): 234. doi:10.1080/03637758009376035.
  13. ^ Lucia, Cynthia (October 1994). "Revisiting High School – An interview with Frederick Wiseman". Cinéaste. 20 (4): 5–11.
  14. ^ Tartaglione, Nancy (July 25, 2023). "Venice Film Festival Lineup: Mann, Lanthimos, Fincher, DuVernay, Cooper, Besson, Coppola, Hamaguchi In Competition; Polanski, Allen, Anderson, Linklater Out Of Competition – Full List". Deadline. Retrieved July 25, 2023.
  15. ^ "News & Events". champselysees-paris.com. from the original on May 6, 2017. Retrieved August 26, 2012.
  16. ^ Philippe Pilard. "Frederick Wiseman, Chronicler of the Western World". La Sept/Arte. from the original on September 20, 2015. Retrieved August 26, 2012.
  17. ^ "Laureates 2003". Tel Aviv University. from the original on October 30, 2020. Retrieved November 4, 2015.
  18. ^ Roberta Smith (March 1, 2012). "A Survey of a Different Color 2012 Whitney Biennial". The New York Times. from the original on October 6, 2018. Retrieved March 5, 2012.
  19. ^ . labiennale. Archived from the original on September 3, 2014.
  20. ^ "Frederick Wiseman". Oscars.org | Academy of Motion Picture Arts and Sciences. November 3, 2016. Retrieved June 6, 2022.

Sources edit

  • Aftab, Kaleem Aftab; Alexandra Weltz "Frederick Wiseman" (Interview) on iol.ie
  • Wiseman, Frederick (April 1994). "Editing as a four-way conversation". Dox: Documentary Film Quarterly. 1: 4–6.

Further reading edit

  • Benson, Thomas W.; Carolyn Anderson, Reality Fictions: The Films of Frederick Wiseman, 2nd edition (Carbondale: Southern Illinois University Press, 2002). (Comprehensive history and criticism of the films.)
  • Bergman, Barry, "43 years after Titicut Follies, it's Berkeley, the movie" September 23, 2010, at the Wayback Machine, UC Berkeley News, September 14, 2010.
  • Grant, Barry Keith, Voyages of Discovery: The Cinema of Frederick Wiseman, University of Illinois Press, 1992. (Wiseman's oeuvre: 1963–1990)
  • Mamber, Stephen, Cinema Verité in America: Studies in Uncontrolled Documentary, Cambridge and London, MIT Press, 1974.
  • Saunders, Dave, Direct Cinema: Observational Documentary and the Politics of the Sixties, London: Wallflower Press, 2007. (Contains a lengthy section on Wiseman's first five films)
  • Siegel Joshua; de Navacelle Marie-Christine, "Frederick Wiseman", The Museum of Modern Art, New York, 2010. ISBN 978-0-87070-791-9
  • Vachani, Nilita, "Revisiting Fred Wiseman's Law and Order in the Era of Black Lives Matter", Film International, October 14, 2020.
  • Vachani, Nilita, "Frederick Wiseman's ESSENE (1972): The Duality of Mary and Martha", Journal of Religion and Film, October 1, 2021.

External links edit

  • Frederick Wiseman at IMDb
  • Zipporah Films Official distributor of Wiseman's work
  • – Statement at La clé des langues
  • A Discussion with Frederick Wiseman and Robert Kramer – Documentary Box
  • Interview with Frederick Wiseman for Slant Magazine by Budd Wilkins
  • Interview with Wiseman at Not Coming to a Theater Near You

January 01, 1970
frederick, wiseman, born, january, 1930, american, filmmaker, documentarian, theater, director, work, primarily, about, exploring, american, institutions, 2017, york, times, called, most, important, original, filmmakers, working, today, wiseman, june, 2005born. Frederick Wiseman born January 1 1930 is an American filmmaker documentarian and theater director His work is primarily about exploring American institutions 1 In 2017 The New York Times called him one of the most important and original filmmakers working today 2 Frederick WisemanWiseman in June 2005Born 1930 01 01 January 1 1930 age 94 Boston Massachusetts U S Alma materWilliams College B A 1951 Yale Law School LL B 1954 Occupation s director producerYears active1963 presentSpouseZipporah Batshaw m 1955 died 2021 wbr Children2 Contents 1 Early life 2 Career 3 Philosophy 4 Process and style 5 Credits 5 1 Film 5 2 Theatre 6 Accolades 7 References 8 Sources 9 Further reading 10 External linksEarly life editWiseman was born to a Jewish family in Boston on January 1 1930 3 4 the son of Gertrude Leah nee Kotzen and Jacob Leo Wiseman citation needed He earned a Bachelor of Arts from Williams College in 1951 and a Bachelor of Laws from Yale Law School in 1954 He spent 1954 to 1956 serving in the U S Army after being drafted 5 Wiseman spent the following two years in Paris France before returning to the United States where he took a job teaching law at the Boston University Institute of Law and Medicine He then started documentary filmmaking and has won numerous film awards as well as Guggenheim and MacArthur fellowships 6 7 Career editThe first feature length film Wiseman produced was The Cool World 1963 This was followed by Titicut Follies in 1967 which he produced and directed He has both produced and directed all of his films since They are chiefly studies of social institutions such as hospitals high schools or police departments All his films have aired on PBS one of his primary funders Wiseman s films are often described as in the observational mode which has its roots in direct cinema but Wiseman dislikes the term What I try to do is edit the films so that they will have a dramatic structure That is why I object to some extent to the term observational cinema or cinema verite because observational cinema to me at least connotes just hanging around with one thing being as valuable as another and that is not true At least that is not true for me and cinema verite is just a pompous French term that has absolutely no meaning as far as I m concerned Wiseman has been known to call his films Reality Fictions 7 Philosophy edit nbsp Wiseman at Kansas State University in 1971 Wiseman s films are in his view elaborations of a personal experience and not ideologically objective portraits of his subjects In interviews Wiseman has emphasized that his films are not and cannot be unbiased In spite of the inescapable bias that is introduced in the process of making a movie he still feels he has certain ethical obligations as to how he portrays events My films are based on unstaged un manipulated actions The editing is highly manipulative and the shooting is highly manipulative What you choose to shoot the way you shoot it the way you edit it and the way you structure it all of those things represent subjective choices that you have to make In Belfast Maine I had 110 hours of material I only used 4 hours near nothing The compression within a sequence represents choice and then the way the sequences are arranged in relationship to the other represents choice 7 All aspects of documentary filmmaking involve choice and are therefore manipulative But the ethical aspect of it is that you have to try to make a film that is true to the spirit of your sense of what was going on My view is that these films are biased prejudiced condensed compressed but fair I think what I do is make movies that are not accurate in any objective sense but accurate in the sense that I think they re a fair account of the experience I ve had in making the movie 8 I think I have an obligation to the people who have consented to be in the film to cut it so that it fairly represents what I felt was going on at the time in the original event 9 Process and style editWiseman works four to six weeks in the institutions he portrays with almost no preparation He spends the bulk of the production period editing the material trying to find a rhythm to make a movie Every Wiseman film has a dramatic structure though not necessarily a narrative arc his films rarely have what could be considered a distinct climax and conclusion He likes to base his sequence structure with no particular thesis or point of view in mind 10 Any suspense is on a per scene level not constructed from plot points and there are no characters with whom the viewer is expected to identify Nevertheless Wiseman feels that drama is a crucial element for his films to work as movies Poppy The rhythm and structure Wiseman of Wiseman s films pull the viewer into the position and perspective of the subject human or otherwise The viewer feels the dramatic tension of the situations portrayed as various environmental forces create complicated situations and conflicting values for the subject Wiseman openly admits to manipulating his source material to create dramatic structure and indeed insists that it is necessary to make a movie I m trying to make a movie A movie has to have dramatic sequence and structure I don t have a very precise definition about what constitutes drama but I m gambling that I m going to get dramatic episodes Otherwise it becomes Empire I am looking for drama though I m not necessarily looking for people beating each other up shooting each other There s a lot of drama in ordinary experiences In Public Housing there was drama in that old man being evicted from his apartment by the police There was a lot of drama in that old woman at her kitchen table peeling a cabbage 11 Wiseman has said that the structure of his films is important to the overall message Well it s the structural aspect that interests me most and the issue there is developing a theory that will relate these isolated nonrelated sequences to each other That is partially I think related to figuring out how it either contradicts or adds to or explains in some way some other sequence in the film Then you try to determine the effect of a particular sequence on that point of view of the film 12 A distinctive aspect of Wiseman s style is the complete lack of exposition narration interaction interviews and reflection revealing any of the filmmaking process Wiseman has said that he does not feel any need to document his experience and that he feels that such reflexive elements in films are vain 13 While producing a film Wiseman often acquires more than 100 hours of raw footage His ability to create an engaging and interesting feature length film without the use of voice over title cards or motion graphics while still being fair has been described as the reason Wiseman is seen as a true master of documentary film This great glop of material which represents the externally recorded memory of my experience of making the film is of necessity incomplete The memories not preserved on film float somewhat in my mind as fragments available for recall unavailable for inclusion but of great importance in the mining and shifting process known as editing This editorial process is sometimes deductive sometimes associational sometimes non logical and sometimes a failure The crucial element for me is to try and think through my own relationship to the material by whatever combination of means is compatible This involves a need to conduct a four way conversation between myself the sequence being worked on my memory and general values and experience Credits editFilm edit The Cool World 1963 producer only Titicut Follies 1967 High School 1968 Law and Order 1969 Hospital 1970 I Miss Sonia Henie 1971 Basic Training 1971 Essene about St Gregory s Abbey Three Rivers 1972 Juvenile Court 1973 Primate 1974 Welfare 1975 Meat 1976 Canal Zone about the Panama Canal Zone 1977 Sinai Field Mission about the Sinai Field Mission 1978 Manoeuvre 1979 Seraphita s Diary 1980 Model about the Zoli Agency 1980 The Store about the flagship store of Neiman Marcus 1983 Racetrack about Belmont Park 1985 Blind about the Alabama School for the Blind 1986 Deaf about the Alabama School for the Deaf 1986 Adjustment and Work 1986 Multi Handicapped 1986 Missile 1988 Near Death 1989 Central Park about Central Park 1989 Aspen about Aspen Colorado 1991 Zoo about Zoo Miami 1993 High School II 1994 Ballet 1995 La Comedie Francaise ou l Amour joue 1996 Public Housing 1997 Belfast Maine about Belfast Maine 1999 Domestic Violence 2001 La derniere lettre The Last Letter 2002 filmed version of his directed stage play at Comedie Francaise Domestic Violence 2 about domestic violence cases in the courts in Hillsborough County Florida 2002 The Garden 2005 unreleased State Legislature 2007 La Danse 2009 about the Ballet de l Opera National de Paris Boxing Gym 2010 Crazy Horse 2011 about the Crazy Horse nightclub in Paris At Berkeley about the University of California Berkeley 2013 National Gallery 2014 In Jackson Heights 2015 Ex Libris The New York Public Library 2017 Monrovia Indiana 2018 City Hall 2020 A Couple 2022 Other People s Children 2022 actor Menus Plaisirs Les Troisgros 2023 14 Theatre edit In addition to his better known film work Wiseman has also directed and been involved in theater in the US and France 15 Emily Dickinson La Belle d Amherst The Belle of Amherst by William Luce Le Theatre Noir Paris Director May July 2012 16 Oh les beaux jours by Samuel Beckett La Comedie Francaise Paris Director November January 2006 Director amp Actor Jan March 2007 The Last Letter an adaptation from the novel Life and Fate by Vasily Grossman Theatre for a New Audience New York Director December 2003 North American Tour with La Comedie Francaise production Ottawa Toronto Canada Cambridge Springfield MA New York NY Chicago IL Director May June 2001 La Comedie Francaise Paris Director March April 2000 September November 2000 Welfare The Opera story by Frederick Wiseman and David Slavitt libretto by David Slavitt music by Lenny Pickett St Anne s Center for Restoration and the Arts New York Director May 1997 American Music Theater Festival Philadelphia Director June 1992 American Repertory Theatre Cambridge Director May 1988 Hate by Joshua Goldstein American Repertory Theatre Cambridge Director January 1991 Tonight We Improvise by Luigi Pirandello American Repertory Theatre Cambridge Director of video sequences and actor in role of documentary filmmaker November 1986 February 1987Accolades editIn 2003 Wiseman received the Dan David Prize for his films 17 In 2006 he received the George Polk Career Award given annually by Long Island University to honor contributions to journalistic integrity and investigative reporting In spring 2012 Wiseman actively took part in the three month exposition of the Whitney Biennial 18 In 2014 he was awarded the Golden Lion for Lifetime Achievement at the 71st Venice International Film Festival 19 In 2016 Wiseman received an Academy Honorary Award from the Academy of Motion Picture Arts and Sciences 20 References edit Philippe Pilard August 26 2012 Frederick Wiseman Chronicler of the Western World La Sept Arte Archived from the original on May 6 2017 Scott A O Dargis Manohla April 6 2017 Frederick Wiseman The Filmmaker Who Shows Us Ourselves The New York Times ISSN 0362 4331 Archived from the original on April 17 2017 Retrieved September 3 2017 The Jewish news of Northern California The tribe goes to the Oscars Archived March 31 2019 at the Wayback Machine by Nate Bloom February 13 2017 Wiseman Frederick Encyclopedia com May 23 2018 Retrieved December 28 2023 Hynes Eric July 11 2022 Frederick Wiseman Journal Metrograph Retrieved September 13 2023 Frederick Wiseman biography Archived March 7 2016 at the Wayback Machine The New York Times December 20 2014 a b c Aftab and Weltz Interview with Frederick Wiseman Spotnitz Frank May 1991 Dialogue on film American Film 16 5 16 21 Poppy Nick January 30 2002 Frederick Wiseman Salon com Archived from the original on January 15 2008 Eric Hynes Metrograph Edition Metrograph Archived from the original on August 5 2020 Retrieved April 30 2020 Peary Gerald March 1998 Frederick Wiseman Archived from the original on October 17 2007 Retrieved November 12 2007 Benson Thomas 1980 The Rhetorical Structure of Frederick Wiseman s High School Communication Monographs 47 4 234 doi 10 1080 03637758009376035 Lucia Cynthia October 1994 Revisiting High School An interview with Frederick Wiseman Cineaste 20 4 5 11 Tartaglione Nancy July 25 2023 Venice Film Festival Lineup Mann Lanthimos Fincher DuVernay Cooper Besson Coppola Hamaguchi In Competition Polanski Allen Anderson Linklater Out Of Competition Full List Deadline Retrieved July 25 2023 News amp Events champselysees paris com Archived from the original on May 6 2017 Retrieved August 26 2012 Philippe Pilard Frederick Wiseman Chronicler of the Western World La Sept Arte Archived from the original on September 20 2015 Retrieved August 26 2012 Laureates 2003 Tel Aviv University Archived from the original on October 30 2020 Retrieved November 4 2015 Roberta Smith March 1 2012 A Survey of a Different Color 2012 Whitney Biennial The New York Times Archived from the original on October 6 2018 Retrieved March 5 2012 Thelma Schoonmaker and Frederick Wiseman Golden Lions for Lifetime Achievement labiennale Archived from the original on September 3 2014 Frederick Wiseman Oscars org Academy of Motion Picture Arts and Sciences November 3 2016 Retrieved June 6 2022 Sources editAftab Kaleem Aftab Alexandra Weltz Frederick Wiseman Interview on iol ie Wiseman Frederick April 1994 Editing as a four way conversation Dox Documentary Film Quarterly 1 4 6 Further reading editBenson Thomas W Carolyn Anderson Reality Fictions The Films of Frederick Wiseman 2nd edition Carbondale Southern Illinois University Press 2002 Comprehensive history and criticism of the films Bergman Barry 43 years after Titicut Follies it s Berkeley the movie Archived September 23 2010 at the Wayback Machine UC Berkeley News September 14 2010 Grant Barry Keith Voyages of Discovery The Cinema of Frederick Wiseman University of Illinois Press 1992 Wiseman s oeuvre 1963 1990 Mamber Stephen Cinema Verite in America Studies in Uncontrolled Documentary Cambridge and London MIT Press 1974 Saunders Dave Direct Cinema Observational Documentary and the Politics of the Sixties London Wallflower Press 2007 Contains a lengthy section on Wiseman s first five films Siegel Joshua de Navacelle Marie Christine Frederick Wiseman The Museum of Modern Art New York 2010 ISBN 978 0 87070 791 9 Vachani Nilita Revisiting Fred Wiseman s Law and Order in the Era of Black Lives Matter Film International October 14 2020 Vachani Nilita Frederick Wiseman s ESSENE 1972 The Duality of Mary and Martha Journal of Religion and Film October 1 2021 External links editFrederick Wiseman at Wikipedia s sister projects nbsp Media from Commons nbsp Data from Wikidata Frederick Wiseman at IMDb Zipporah Films Official distributor of Wiseman s work Frederick Wiseman on Reality and film Statement at La cle des langues A Discussion with Frederick Wiseman and Robert Kramer Documentary Box Interview with Frederick Wiseman for Slant Magazine by Budd Wilkins Interview with Wiseman at Not Coming to a Theater Near You Retrieved from https en wikipedia org w index php title Frederick Wiseman amp oldid 1223210481 Filmography, wikipedia, wiki, book, books, library,

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