I like to think of the camera as something that helps me capture things I would not normally see. So when I see filmmakers watching their own images on the combo in real time, as they shoot, I cannot help but think of it as a tautology. Because they are assimilating the potentiality of the human eye.
At once repugnant and entrancing, it turns the body into the ultimate frontier, an alien landscape teeming with surreal visions, less a decaying vessel than an undiscovered planet.
Her film and live performance Terra Femme tries to identify the female gaze... By weaving together archival amateur travel footage shot by women in the early 20th century, Stephens gives us insight as to what they attempted to capture along their journeys.
For me, there is one goal as an actor: truth. What is the truth in a situation? Because you are a reference to people. People are spending time to watch you, so you become their reference of a situation... if the audience is spending time watching you, there is a responsibility.
There is a quality to the gaze that is always political. It is not that children have a more poetic look on life, but that it is vital for them to look, it is vital for them to gaze. It is about getting information, because they are dependent and a lot is not said within families that have a strong hierarchy.