It might help if you could be more specific about any difference between your concept of “participation” and the tradition of “first-person camera” or “subjective camera”. Such a technique implies some agent, represented by the camera that does in some sense "participate in the actions depicted, rather than simply observe.” The way you describe your examples though seems to imply we understgand the camera AS a camers, foregrounding the physical act of filming as an element of the pro-filmic event. But the distiction isn’t necessarily that clear. In Fuses, there’s the implication that we’re seeing the perspective of Kitsch the Cat, and the camerawork in the CU reel of Christmas on Earth isn’t obviously intended to be read as “participatory camera” vs. just, say, “psychedelia” in the text itself - ( you have to know extra-textual stuff about Barbara Rubin and the production of the film. Perhaps you could clarify by listing some familair films that would be OUTSIDE the realm you seek. For example, what about Anticipation of the Night? Or what about less experimental examples of cinema verite, where the camera-operator is a participant (e.g. Sherman’s March)?
Either way, Pennebaker’s largely (understandably?) overlooked “One P.M.” might fit... _______________________________________________ FrameWorks mailing list [email protected] https://mailman-mail5.webfaction.com/listinfo/frameworks
