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Stanger Than Fiction: Documentary Film

In the beginning all movies were documentaries. In the early 1890's the flickering image of a train coming into the station had frantic Parisians scurrying for the door. From the Russian masters such as Dziga Vertov (Man With A Movie Camera, 1929) and the WPA films of Pare Lorentz (The Plow That Broke The Pains, 1936 and The River, 1937) through Hollywood’s wartime "Why We Fight" propaganda series to Frederick Wiseman's "High School", "Basic Training" and the often over-looked "Meat", documentary films tell the stories of our lives, warts and all. Professor Barnouw provides the standard text of the history of the art form and Profs. Benson and Anderson focus on selected works by Mr. Wiseman.

Documentary: A History of the Non-Fiction Film
Erik Barnouw
Oxford University Press  Softcover  416pp  16.95
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Now brought completely up to date, the new edition of this classic work on documentary films and filmmaking surveys the history of the genre from 1895 to the present day. With myriad social upheavals over the past decade, documentaries have enjoyed an international renaissance; here Barnouw considers the medium in the light of an entirely new political and social climate. He examines as well the latest filmaking technology and the effects that video cassettes and cable television are having on the production of documentaries.

Reality Fictions: The Films of Frederick Wiseman
Thomas W. Benson, Carolyn Anderson
Southern Illinois University Press  Softcover  464pp  30.00
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Providing in-depth accounts and close critical examinations of nine of Wiseman’s films—Titicut Follies, High School, Basic Training, Essene, Juvenile Court, Primate, Welfare, Canal Zone, and The Store—this second edition featuring a new introduction, a revised and updated filmography, and an updated bibliography.

“It is to Benson and Anderson’s credit that they produce a thoroughly illuminating examination of Wiseman’s films and filmmaking but that they leave some of the mystery of the filmmaker intact. One finishes the book with a vastly expanded understanding of the films, yet with a sense of awe for the person who is probably this era’s most distinguished documentarist.". - Quarterly Journal of Speech

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