Manfred Kirchheimer

Manfred Kirchheimer (born 1931) is a documentary film maker and professor of film at the School of Visual Arts in New York City.

He previously taught at NYIT.

He was born in Saarbrücken, Germany, and his family moved to New York City in 1936 to escape Nazi Germany.

In 1936, Kirchheimer's family fled to the United States from Nazi Germany.

After arriving, he attended the New York City Public Schools.

Upon graduating high school, he began studying film production with Hans Richter at the Hans Richter Institute of Film Techniques at the City College of New York from 1948 to 1952, receiving a B.A.

For the next 24 years, Kirchheimer worked as an editor, director, and camera operator in the New York film industry.

He edited on over 300 films for ABC, CBS, NBC, and National Educational Television.

The subjects of these films ranged from cultural to biographical.

During these years, he also financed his own independent films while also working with Hans Richter and Jay Leyda on films.

After receiving a B.A. from the City College of New York in 1952, he worked primarily as a film editor and he also began making his own films.

A major theme in many of his documentaries is urban life.

His most notable documentaries include: Stations of the Elevated, We Were So Beloved, Tall: The American Skyscraper and Louis Sullivan, and Art Is... The Permanent Revolution.

In 1963, he was a camera operator for Leo Hurwitz.

Kirchheimer stated in 2010 that he has never made back the money he has spent on his films.

Kirchheimer has received a number of awards and grants for his documentary films including awards from: Athens International Film Festival, Yale Film Festival, American Film Festival, RiverRun International Film Festival, Ciné Golden Eagle, American Film Institute, National Endowment for the Arts, National Endowment for the Humanities, and New York State Council on the Arts.

As of 2014, Kirchheimer is a professor of film at the School of Visual Arts.

Kirchheimer's films typically focus on aspects of urban life.

His films have been described as "hopeful, yet they admonish for the future".

He typically uses written commentary on screen rather than voice-over in his films.

He often creates complex layerings of sound to create novel sound environments rather than the sound at the actual scene.

About his audience he has said

"I trust my audience. I am eager for the audience to work, and not lose themselves while they are watching my films [... they should be] able to hold on to their own integrity and insights so they don't leave their intelligence behind. When viewers leave the theater they will be walking into the same world they just left, not one unconnected to the film they've seen."

He also avoids collaborating with others in making films because

"I don't have to keep appointments with anybody. I don't have to say we'll meet tomorrow. I don't have to argue with anybody. Just, you know, it's not that I'm a one man band, it's just that I like to think things through. I like the challenge of it."

According to Kirchheimer, most of the films he has made he paid for himself.

His first film Colossus on the River cost about $3,500 to make.

The first grant he received was $10,000 to make Stations of the Elevated, which he said paid for about half of the film.

He also received grants to make We Were So Beloved, which paid for some but not all of the film making.

Kirchheimer stated that he probably can make documentaries at lower cost than others because his former students help him without pay, but if he ever does make money from a film, they will get some of the proceeds.