Do You Get It No. 4

Van Gasteren wonders what the so-called objectively registering documentary filmmaker is actually doing. He monopolises the subject, observes matters, defines the time and what occurs in it. When the director has part of a village on Sardinia converted into a film setting, the staging, the people and the traffic have to comply with his wishes. Then, suddenly, a child disrupts the harmony by looking into the camera. The resulting chaos is confusing to the spectator. Apparently he is being manipulated just as much. At the same time the spectator is also manipulating, inside his head. Spectator and participant can no longer be distinguished. Do we see reality, Van Gasteren philosophises, or only our thoughts about it?