The documentary “Third Avenue,” which was completed in 1980, seems virtually prehistoric, tnyfrontrow writes—because its subjects, thrust in relentless struggles for mere survival, appear to be cut off from their own future.
The most important part of a documentary is what’s offscreen—the virtual images of systems, causes, history, and society at large that leave their traces visible in the present tense of filming. Some filmmakers develop complex strategies to get at what lies beyond the camera’s range.
From the eyepiece of the camera, Alpert talks with his subjects; in the film’s more playful moments, some seem to be performing for the camera. “Third Avenue” is a film of dialogue, of conspicuous intervention—there’s no “fly on the wall” disappearance amid the action and little of the habituation to the camera that Wiseman’s subjects display. Each of the six segments identifies its prime participants by name and locale.
The geographical aspect of “Third Avenue” has little to do with travel. On the contrary, the movie emphasizes the containment of Black, brown, and immigrant residents in ghettos, where poverty sparks a wide range of social ills, governmental indifference exacerbates them, and isolation keeps them out of sight and out of mind for what passes as society at large—namely, the fictional constructs of moneyed media.
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