By Glenn Dunks
Depending on your point of few, Frederick Wiseman films exist in a realm of apoliticicm or are stealth political missiles. I believe it’s a little bit somewhere in between. It is easy of course to see the markings of a political filmmaker in his works if you know where to look, and can be done so in essentially all of his works from his debut with Titicut Follies in 1967 right up to his most recent works In Jackson Heights and Ex Libris: The New York Public Library.
And yet he’s obviously no Michael Moore or Alex Gibney, and the way his camera silent observes with little regard for constructed narrative means that it is easy for his films to feel as if any political ideology that rises to the form of text is purely accidental.
With a film such as Wiseman’s latest – his 42nd...
Depending on your point of few, Frederick Wiseman films exist in a realm of apoliticicm or are stealth political missiles. I believe it’s a little bit somewhere in between. It is easy of course to see the markings of a political filmmaker in his works if you know where to look, and can be done so in essentially all of his works from his debut with Titicut Follies in 1967 right up to his most recent works In Jackson Heights and Ex Libris: The New York Public Library.
And yet he’s obviously no Michael Moore or Alex Gibney, and the way his camera silent observes with little regard for constructed narrative means that it is easy for his films to feel as if any political ideology that rises to the form of text is purely accidental.
With a film such as Wiseman’s latest – his 42nd...
- 11/3/2018
- by Glenn Dunks
- FilmExperience
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