rederick Wiseman’s films often document the insipid, noxious operations of bureaucracies. This is certainly the case with High School, released in the auspicious year 1968. If At Berkeley can be read as a sequel to that earlier film, what becomes clear is that it is not only the character of educational institutions that has changed over the past fifty years–like the Fordist factory in the era of globalization, the factory-like public school has faded as well (although many schools have at the same time become increasingly prison-like)–but also the character of the director, who has become, notes one reviewer, “something of an institution himself.”
Another way of putting this comes from Wiseman’s reflections on the documentary form itself. The following comes from a Q&A panel after a screening at the New York Film Festival (above), but it’s an argument Wiseman repeats in nearly every discussion of the film:People don’t want to believe that other people can act the way they sometimes do. Both good and bad–not necessarily just because it shows people doing difficult, uncomfortable or occasionally sadistic or cruel, but it’s equally true that some people don’t want to admit that other people can do nice, kind, helpful things. And in part that’s related to the idea that documentary film should always be an expose, should reveal something bad about government or people’s behavior. . . . I think it’s equally important when people are doing a good job and care and are kind and sensitive to other people, that’s an equally good subject for a documentary.