and there are no characters with whom the viewer is expected to identify. Nevertheless, Wiseman feels that drama is a crucial element for his films to "work as movies" (Poppy). The "rhythm and structure" (Wiseman) of Wiseman's films pull the viewer into the position and perspective of the subject (human or otherwise). The viewer feels the dramatic tension of the situations portrayed, as various environmental forces create complicated situations and conflicting values for the subject. Wiseman openly admits to manipulating his source material to create dramatic structure, and indeed insists that it is necessary to "make a movie": I'm trying to make a movie. A movie has to have dramatic sequence and structure. I don't have a very precise definition about what constitutes drama, but I'm gambling that I'm going to get dramatic episodes. Otherwise, it becomes Empire. ... I am looking for drama, though I'm not necessarily looking for people beating each other up, shooting each other. There's a lot of drama in ordinary experiences. In Public Housing, there was drama in that old man being evicted from his apartment by the police. There was a lot of drama in that old woman at her kitchen table peeling a cabbage. Wiseman has said that the structure of his films is important to the overall message: Well, it's the structural aspect that interests me most, and the issue there is developing a theory that will relate these isolated, nonrelated sequences to each other. That is partially, I think, related to figuring out how it either contradicts or adds to or explains in some way some other sequence in the film. Then you try to determine the effect of a particular sequence on that point of view of the film. A distinctive aspect of Wiseman's style is the complete lack of exposition (narration), interaction (interviews), and reflection (revealing any of the filmmaking process). Wiseman has said that he does not "feel any need to document [his] experience" and that he feels that such reflexive elements in films are vain. While producing a film, Wiseman often acquires more than 100 hours of raw footage. His ability to create an engaging and interesting feature-length film without the use of voice-over, title cards, or motion graphics, while still being "fair", has been described as the reason Wiseman is seen as a true master of documentary film. This great glop of material which represents the