zaterdag 10 mei 2008


Filmmakers render aspects of nature, human activity and imagination visible. The documentary film continues to be a potent form in all its variety, from the personal video diary to "objective" fly-on-the-wall shoots, to the hybrid fact/fiction ("faction") film. But the most prolific documentarists are no longer to be found in film schools and TV stations. In some European and American cities, every street corner is under constant surveillance using recording closed-circuit TV (CCTV) cameras. Such cameras are typically operated by local government, police, private security firms, large corporations and small businesses, and private individuals, and may be automatic or controlled (zoomed and panned) from a remote control room. Filmmakers, and in particular documentarists of all flavours, should reflect on this constant gaze. Why bring in additional cameras, when much private and public urban space is already covered from numerous angles?

Wanting to tell a story, you choose video as the appropriate medium. You look for locations, only to discover that every place has already been filmed and featured. The question arises: why shoot more footage in places which have permanent cameras monitoring every corner, recording every move 24 hours a day? Rather than bringing in more cameras, why not use the existing recordings that capture London's daily life from every angle?


FACELESS Trailer (02:42)
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