is an American filmmaker, documentarian, and theater director. His work is primarily about exploring American institutions. In 2017, The New York Times called him "one of the most important and original filmmakers working today".
Wiseman was born to a Jewish family in Boston on January 1, 1930, 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. 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.
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".
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.
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.
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.
