Jeffrey Geiger, author of American Documentary Film: Projecting the Nation:
This is the new edition we have been waiting for. Barry Keith Grant provides an essential companion to Frederick Wiseman, one of the most distinctive and prominent voices in US documentary. Voyages of Discovery offers perceptive and in-depth analyses of Wiseman's vast catalogue, ranging from the 1960s to his most recent work. Grant foregrounds the ways Wiseman's films have not only documented institutions but have challenged their established practices, encouraging audiences to meaningfully engage with and question the hierarchies and fraught political dynamics encountered in everyday life. This study matches the subtlety and resistance to reductive narratives found in Wiseman's own films, revealing why his work remains compelling and necessary viewing that continues to speak to the present day.

Stephen Mamber, author of Cinema Verite in America: Studies in Uncontrolled Documentary:
Voyages of Discovery is one of the very best books of film analysis and scholarship that I've ever read. It is certainly the essential work about a major film-maker, whose films require special tools and sensitivities to discuss, which Grant possesses in abundance. This is a most useful work both for those just discovering Wiseman and those who think they know him. Great ideas abound on every page, and Grant's organization of the films is original and helpful. Exemplary as well are the carefully selected frame enlargements, which nicely support his close analysis of visual issues. Grant's ability to bring in relevant ideas from both film study and beyond it is the mark of an eminent scholar. That Grant discusses the entirety of Wiseman's prodigious output, in depth and entertainingly, is also quite an accomplishment.

Cynthia Lucia, Rider University:
Barry Keith Grant provides an updated version of his own singularly authoritative study of documentarian Frederick Wiseman’s astonishing range of films—from the controversial Titicutt Follies through such diverse examples as Meat, Missile, Model, Deaf, Blind, Public Housing, Ballet, and Belfast, Maine, to name a few. In his deeply informed study, Grant creates his own meticulous, yet accessible, “tapestry” of inquiry worthy of the same approach he credits Wiseman with adopting. Grant’s insightful readings of Wiseman’s carefully wrought compositions—and the happy accidents that sometimes occur—highlight colorful thematic threads woven to create the “reality fictions” Wiseman, in his own words, is producing. At the same time, Grant presents a capacious “mosaic,” placing Wiseman’s films in textured dialogue, not only with each other, but also with works of literature, art, theater, music, and dance, along with other films and Hollywood genres, that inform them. Grant explores Wiseman’s penetrating vision of institutional operations—the human interactions that sustain them and the ideological underpinnings beneath the “rules” that govern them. As Grant compellingly claims, Wiseman avoids providing viewers with easy answers. Voyages of Discovery powerfully uncovers the ambiguities inviting viewers to democratically, actively, and reflexively assess their own participation in, contributions to, and complicity within the cultural conditions Frederick Wiseman so evocatively observes.