A curious reflection to the National Gallery Frederick Wiseman simultaneously debuts this week.
Not only for the obvious reason both are movies about museums – in the case of Johannes Holzhausen film, Kunsthistoriches Museum Vienna – but also by the Austrian director approach have enough to do with wisemaniano method in its exhaust a place and activities that it is carried out without the use of conventional procedures such as voice off or testimonials to the camera. Here too we see behind the scenes, administrative debates, maintenance work, the day-to-day.
Holzhausen pays more attention to the building itself (a palace of the nineteenth century, full of flavor the Austrian Empire -húngaro) than Wiseman to the architecture of the National Gallery, which interests you little or nothing. And in National Gallery Wiseman closes the film around the exposed frames, observing the painting, the museum Holzhausen estate seems interested not for himself but as employees work the material. A movie turns out to be more “open” until the treatment space, much through general plans, and also more “great”, the camera moves, for example, but also by the nature of focused episodes – where it feels, sometimes an attraction by the comic note that brings to mind the peculiar sense of humor of the Austrian co-Holzhausen who have dedicated themselves to fiction.
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