Filmmakers' Choice: The Interchange of cinematography

As opposed to a shot-reverse shot montage which joins contradictory points of view together in a sensible way, the interchange of cinematography is in a position to leave relevant perspectives in their singular manner. When filmmakers film themselves mutually or a cameraman suddenly takes the position of the performer in front of the camera, specific forms of dialogue are reflected, whether they are connected to political viewpoints and/or refer to sexual fantasies. Explicit changes of view can be seen in Hollis Frampton and Joyce Wieland's avant-garde classic A & B IN ONTARIO for example as can shifts of view in Carolee Schneemann's FUSES. (23.9., presented by Rainer Bellenbaum)