extra credit // cameraperson response

    The things one decides to film is, in some ways, an extension of one's soul and how they see the world. Kirsten Johnson's Cameraperson encapsulates that sentiment on her travels around the world for her films.Watching the film definitely gives you the sur le vif feel as each country she's in and her experiences there are a slice of life of just a small glimpse of the more hustle and bustle that goes on daily even Johnson's not filming.

    What makes watching the film more enjoyable is how Johnson connects herself with the shots in the locations she's in that she almost becomes one with the location itself, thoroughly blending in with the background as she lets her subjects shine instead. It creates a sense of intimacy instead the sometimes awkward feels with nonfiction films where you can tell there's a gap between the subject and the filmmaker. Even the simplest of actions from Johnson makes the film come to life more. One part that stood out particularly was her initial opening credits in Missouri where the cloudy sky is being filmed when the lightning appears for a split second and you can hear a gasp behind the camera followed shortly by the loud boom of thunder. The gasp feels like a breath of life to what initially was a still shot and Johnson follows this style to make scenes more interesting such as when she's filming her twins in her apartment or speaking to the nurses after they helped deliver children. Being able to blend in while also intruding into quiet moments quite naturally work to her advantage as by doing so invites the viewer onto a more personal level where it's like you're behind the camera with her as each shot is crafted so gently that make up the memories of her twenty-five years and you're on a journey through her memory with her as well.