Published in January 2011 (MoMA / Gallimard), under the direction of Marie-Christine de Navacelle and Joshua Siegel, the Frederick Wiseman anthology opens on a consolidated text in which the director, well known to our regular readers , repeated what he has so often developed its methods of work in his various talks and interviews . The book then brings together several contributions, mostly anecdotal and superficial, in a translation of a sometimes comical mediocrity: you can cross (p. 52) a "Charlie Chaplain" or "shining sermon" of a Benedictine ( p. 56), who feel their automatic translator and a lack of proofreading. Not to mention tiresome misunderstanding about the work of filmmaker and page 67 the crown "the undisputed king of misanthropic cinema", while its main characteristic is precisely the suspension of the trial and his insistence on always faithful to reveal the common humanity at the bottom of all behaviors for sadists, perverts, and they are condemned or they seem, or that other funny words (p. 76) makes the enterprise of American designer very poor injustice "Genius unpretentious Wiseman shows that the horror it itself may be through a kind of beauty, "Wiseman knows when the crimes of violating ethics by aesthetics and the horror spectacularized forms attractive. Any protests against what it stands and the practical application of Frederick Wiseman: his film is instead a film fraternity, which render finer descriptions of Andrew Delbanco, confronting his first receptions, he identifies today ' Today as ideological, as it is able to understand now, that is to say the task that once Titicut Follies (1967), Wiseman has always rated "His goal is not to be objective, but as he says, to do justice to the participants "(p. 91). If interest
main this book is to give back in excellent condition and pictures frames significant Wiseman's work, two other contributions deserve our full attention: Geoffrey O'Bryen offers penetrating and suggestive notes on Titicut Follies and secondarily on Welfare (1975): "Here we have exceeded any easy question about the moral (...) We have crossed the border, and one could consider that all works are one of Wiseman an incessant exploration of the implications of this breach "(p. 117). And the text of Pierre Legendre, whose fans already knew Essentially, published in Cahiers du Cinema December 1996 and mainly increased by a note on Dance (released on DVD by Editions Montparnasse with a conversation between the filmmaker and Pierre Legendre, 2009) , which has beautiful insight to distinguish between "sharp edge" that is the extraordinary Model (1980). Lines which we use here his way of summarizing the essential (p. 134): "Wiseman's films can only be understood by those who feel the truth of masks, the intensity of the pieces of conversation between interlocutors ordinary bits and pieces intrigue and comedy are the heart of things in the daily crossing places, anywhere. "
seize the opportunity to recall that the work of Philippe Pilard Frederick Wiseman, a columnist in the Western world ( Editions du Cerf, 2006), its precise summaries, information and analysis of information about each of his films, remains in revenge for the moment and the only valuable working tool available in France on the filmmaker. Here we read his fine article filmmaker Frederick Wiseman named (2006).
© Photogram: Frederick Wiseman, Model , 1980.
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