Kirsten Johnson: Cameraperson

Cameraperson was an interesting film in the way it combined archival footage to tell a new story about the person behind the camera although she was never shown on screen. Through each scene, the viewer discovers more about Kirsten Johnson and where she's been and what she's seen. I enjoyed the way the camera became an extension of herself through her decision to show intimate shots, like her children touching the lens, and her conversations with the people she was interviewing.  The relationship she builds with those she films is evident in the information they feel comfortable sharing with her, as well their reactions. Trust is at the foundation of every interaction, from the young woman awaiting an abortion in Alabama, to the Afghani boy who detailed the loss of his brother and sight due to bombings in his home town. Both people had a visible reaction to disclosing this information, and behind the camera Johnson was audibly choked up as well. Their intimate bond is translated through this interaction because the subjects feel comfortable enough to tell her their stories which evokes empathy from Johnson. Going beyond the conventions of journalism, Johnson forms a connection with everyone she films resembling an extended family or friend. This connection is also seen when interviewing the American soldier who doesn't plan to return to war and when Johnson returns to Bosnia to visit the family she made a film about. In both these interactions, Johnson makes clear that these people will not be lost in her memories. They extend a line of communication with the soldier to reach out if ever in need of legal help in case he faces any trouble trying to evade reporting back to war. Returning to Bosnia and the response of the family highlights the mutual bond that was formed during filming.