The authenticity of Wiseman’s depictions of the Bridgewater prison is out of the question. Inevitably the minor influence of the camera on Wiseman’s subjects is in fact in this case insignificant, because no matter how the subjects dramatize their behavior, they behave in a way that they want to be perceived under social expectations. Wiseman gives no intervention in his silent shooting of the scenes, strong and eye-opening evidence of the interaction among the guards, inmates, interrogators, psychiatrists, nurses, and social workers, which would otherwise not be seen by the public. Wiseman distinguishes his approach from other documentarians of his time by using a mosaic structure beyond objective chronological accounts of events (Grant, 2006). Named after the inmates’ talent show (meaning Taunton River in the Wampanoag language), this documentary is a valuable record of prison culture in its presentation of a valid microcosm of the state institution in its treatment of the mentally insane criminals in the 1960s.