The Stephen A. Schwarzman Building, also known as the “Main Branch” of the New York Public Library, is located at 42nd Street and 5th Avenue, next to Bryant Park. Almost 150 years ago that was the setting of the Murray Hill Reservoir, which supplied drinking water for most of the city through the end of the 19th century. It’s perhaps no coincide that the Nypl’s headquarters are located there, since they have taken on the duty of supplying the city with knowledge and culture, elements which are as essential to New Yorkers as water. The iconic building is at the center of Frederick Wiseman’s Ex Libris, an enthralling documentary that chronicles the work the Nypl continues to do since its inception in 1911.
Wiseman’s enlightening, often quite moving film, explores the Nypl’s reach beyond 42nd Street, through its almost 90 branches, which provide courses, talks and, of course,...
Wiseman’s enlightening, often quite moving film, explores the Nypl’s reach beyond 42nd Street, through its almost 90 branches, which provide courses, talks and, of course,...
- 9/19/2017
- by Jose Solís
- The Film Stage
As the Museum of the Moving Image points out, introducing its series Frederick Wiseman's New York (today through November 7), In Jackson Heights is Wiseman's ninth film made in the City. We've got a fresh round of reviews, clips and notes—from Errol Morris and many others—on the other documentaries in the series: Ballet, Hospital, Welfare, Racetrack, Model, Central Park and High School II. Wiseman will be at Momi on October 28 and at Film Forum on November 4, 5 and 7. » - David Hudson...
- 10/9/2015
- Keyframe
As the Museum of the Moving Image points out, introducing its series Frederick Wiseman's New York (today through November 7), In Jackson Heights is Wiseman's ninth film made in the City. We've got a fresh round of reviews, clips and notes—from Errol Morris and many others—on the other documentaries in the series: Ballet, Hospital, Welfare, Racetrack, Model, Central Park and High School II. Wiseman will be at Momi on October 28 and at Film Forum on November 4, 5 and 7. » - David Hudson...
- 10/9/2015
- Fandor: Keyframe
Read More: Frederick Wiseman's 'In Jackson Heights' Explores One of the Most Diverse Neighborhoods in the World The Museum of the Moving Image has announced the schedule for its Frederick Wiseman retrospective, running from October 9 - November 1. The event will feature seven of the prolific documentarian's films focusing on New York City, including "Ballet," "Central Park," and "High School II." The retrospective also includes a discussion with Wiseman about his films and a first look at his latest documentary, "In Jackson Heights." The full schedule is as follows: "Ballet"Friday, October 9, 7:00 P.M. "Hospital"Saturday, October 10, 3:00 P.M. "Welfare"Sunday, October 11, 3:15 P.M. "Racetrack"Saturday, October 17, 3:00 P.M. "Model"Saturday, October 24, 3:00 P.M. "Central Park"Sunday, October 25, 3:00 P.M. An Evening with Frederick WisemanWednesday, October 28,...
- 9/28/2015
- by Ryan Anielski
- Indiewire
At a brisk 180 minutes, National Gallery is hardly one of Frederick Wiseman’s documentary marathons, but it still brims with ideas. After the classrooms in At Berkeley (2013), here the incredibly spritely octogenarian filmmaker focuses on the halls of the National Gallery in London, and contemplates ways of looking, storytelling, and, through this, the nature of cinema itself.
While, as always, the structuring device of the film is the institution of the museum, here Wiseman feels more playfully direct in his editing process—though never didactic. In shooting details of paintings, cutting between oil painted visages and the flesh one of the guests, and capturing the gallery’s gesticulating guides, Wiseman points the audience time and again to the different ways we perceive the world, be in through art, film, poetry or dance.
During the Toronto International Film Festival, I talked to Wiseman about this theme of looking, the genesis of...
While, as always, the structuring device of the film is the institution of the museum, here Wiseman feels more playfully direct in his editing process—though never didactic. In shooting details of paintings, cutting between oil painted visages and the flesh one of the guests, and capturing the gallery’s gesticulating guides, Wiseman points the audience time and again to the different ways we perceive the world, be in through art, film, poetry or dance.
During the Toronto International Film Festival, I talked to Wiseman about this theme of looking, the genesis of...
- 10/3/2014
- by Kiva Reardon
- MUBI
Chicago – Frederick Wiseman doesn’t pretend to be an expert on the locations that he explores in his documentaries. It’s his meticulous attention to detail during production that makes the audience feel as if they are truly immersed in the environment of Wiseman’s films. Only during the editing process does the director find the meaning within the images.
Wiseman’s approach to nonfiction cinema is utterly organic and often very revealing. His formidable filmography, comprised of 37 documentaries and two fiction works, began with 1967’s “Titticut Follies,” which took a brutally frank and vital look at the abuse inside the Massachusetts Correctional Institution Bridgewater. The director’s repeated study of disturbing subject matter led some of his peers, such as Errol Morris, to deem his work “misanthropic,” but Wiseman insists that’s not the case. His latest film, “Crazy Horse,” pays exuberant tribute to the dancers of the titular...
Wiseman’s approach to nonfiction cinema is utterly organic and often very revealing. His formidable filmography, comprised of 37 documentaries and two fiction works, began with 1967’s “Titticut Follies,” which took a brutally frank and vital look at the abuse inside the Massachusetts Correctional Institution Bridgewater. The director’s repeated study of disturbing subject matter led some of his peers, such as Errol Morris, to deem his work “misanthropic,” but Wiseman insists that’s not the case. His latest film, “Crazy Horse,” pays exuberant tribute to the dancers of the titular...
- 2/21/2012
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
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