[Investigating video as an intimate rather than collective experience.]
I've been thinking lately about how our experience of film, as it has moved on to more portable devices, revises the intimacy of narrative.
Most contemporary television drama employs the steadycam – sometimes exclusively – using cranes and dollies mainly for establishing the scene. These perspectival qualities can be seen as far back as the 1962 documentary Lonely Boy which employs cameras newly made portable and lending them well to intimate settings like automobile interiors.
Today's screens are ubiquitous with portability. The receiver in the model has looped back to propose a paradigmatic inversion, where new affordances aren't opportunities for expression, but rather serve to define the parameters of engagement (consumption) and inform the mandate for content creation.
This video work introduces a new modality of steadycam awareness on an older production style (1983's The Right Stuff, directed by Philip Kaufman). The strong contrast between inside (the Mercury space capsule as state-of-the-art technology) and outside (the natural world) on which this movement is imposed shows how modern modes of shooting consistently define a space in which our first-hand perspective is simulated.