Extra Credit: Cameraperson

Kirsten Johnson’s film Cameraperson is a fascinating film that captures specific things at specific moments in time.  Johnson captures certain subjects and certain settings that tell a story. Two questions that Johnson’s work explores are: 

I ask for trust, cooperation and permission without knowing where the filming experience will lead the subject. 

My work requires trust, demands intimacy and entails total attention. To both me and the people I film, our relationship often feels like a friendship or family connection, but it is something different. 

Both of these are exhibited throughout the film.

For example, in one scene, she filmed Najibullah Afghan, a boy who has survived a plethora of trauma in his life.  Earlier in the film, Afghan discussed his sight disability relatively easily. Then, Johnson asked more personal questions and Afghan struggled to recount the story of what happened to his brother.  Johnson did not know how Afghan would react but she acted off of the trust that she built with him and the intimacy that was in the moment. Also, even though she did not understand the language, she worked with the translator and Afghan (she could have just asked him to speak in English but she wanted him to speak in his native language).  In terms of forming a connection, she did not push Afghan too far to say more. She understood that his eye was hurting and that it was hurting just to tell his story of his brother’s death. In addition, she sympathized with him, stating that she “feels like crying even though I (she) did not understand the language.”

Another instance of these questions Johnson has is when she filmed Kathy Leichter, a woman from Westport, New York, who struggled to clean up her mother’s house after her mother’s suicide.  At first, the scene was mainly calm although it was clear that Leichter was a little emotional and frustrated partly because her mother seemed to be a hoarder. However, things did not become intense until Johnson asked Leichter to share what else she was “sick of” or upset with.  This resulted in Leichter becoming more emotional as she tossed objects across the room and shared what else she was sick of. Johnson did not expect this to happen. Regardless, it was a sort of mini-venting and therapeutic exercise for Leichter to release her anger and eventually get back to the work she planned to do (clean the house).  In addition, even though Johnson did not know how Leichter would react; if she did not ask Leichter and listen to her, she (Johnson) probably would not have gotten the footage she got. If Johnson just kept talking or being inattentive, Leichter may not have acted in the way that she did. Moreover, in establishing a connection, she let Leichter have her space and reacted calmly. She also shared a smile and a laugh with her.  

Overall, both of these questions Johnson poses are ones to consider in the film Cameraperson.  Despite any fears, Johnson successfully encouraged people to be on camera and tell their story.  Moreover, Johnson’s work clearly requires intimacy and total attention. If Johnson was not paying attention to her subjects, the film would not have compelling interviews or stories.  She knew exactly what questions to ask and how to ask them to get satisfying answers. Additionally, Johnson also established a connection with her subjects. She was sympathetic; sharing in her subjects’ emotions or trying to be as encouraging as possible.  The film has a perfect name. Of course, it is Johnson’s experiences as a camera person or a filmmaker. However, it goes deeper than that. It shows the challenges that camera people often must face if they want to produce the best content that viewers can react to and that they (camera people) can be proud of.