A Quote by Stanley Cavell

Under examination by the camera, a human body becomes for its inhabitant a field of betrayal more than a ground of communication, and the camera's further power is manifested as it documents the individual's self-conscious efforts to control the body each time it is conscious of the camera's attention to it.
The camera has a mind of its own--its own point of view. Then the human bearer of time stumbles into the camera's gaze--the camera's domain of pristine space hitherto untraversed is now contaminated by human temporality. Intrusion occurs, but the camera remains transfixed by its object. It doesn't care. The camera has no human fears.
Everything about acting is a challenge. I'm self-conscious. You couldn't do anything to cause me to be more self-conscious than to stick a camera in my face and have 60 people standing behind it, waiting for me to perform.
I don't like the camera. I get very self-conscious with it and then spend way too much time not looking self-conscious instead of being free, as I do on stage, to do my work.
I started working in front of the camera for the first time when I was 15 years old. I joined a soap opera. We filmed in Brooklyn and I would skip class to shoot my scenes. It was terrifying and I entirely self-conscious in front of the camera.
Camera 1.0 was film. Camera 2.0 was digital. 3.0 is a light-field camera that opens all these new possibilities for your picture taking.
You put your camera around your neck along with putting on your shoes, and there it is, an appendage of the body that shares your life with you. The camera is an instrument that teaches people how to see without a camera.
The stigma that used to exist many years ago, that actors from film don't do television, seems to have disappeared. That camera doesn't know it's a TV camera... or even a streaming camera. It's just a camera.
Physically, rowing was remarkable resistant to the camera... the camera liked power exhibited more openly, and the power of the oarsmen [is] exhibited in far too controlled a setting. Besides, the camera liked to focus on individuals, and except for the single scull, crew was sport without faces.
It becomes necessary to realize that the body is not conscious, but we are conscious of the body, also that the mind is not conscious but we are conscious of the mind.
Your camera is the best critic there is. Critics never see as much as the camera does. It is more perceptive than the human eye.
Self-painting is a further development of painting. The pictorial surface has lost its function as sole expressive support. It was led back to its origins, the wall, the object, the living being, the human body. By incorporating my body as expressive support, occurrences arise as a result, the course of which the camera records and the viewer can experience
I think I've spent more time in front of a camera than off camera. That's just the way it is.
In the grand spectrum of things in WWE, you are wrestling for that camera and that camera and that camera - and all the cameras they have - and you have to make things work that way because, through that camera, there's a million people watching.
I think the camera was always my obsession, the camera movements. Because for me it's the most important thing in the move, the camera, because without the camera, film is just a stage or television - nothing.
I'm really specific in the way that I shoot. I've always had a very good sense of what I need in the editing room. I used to shoot in a way that drew more attention to the camera and I've tried, in each film, to draw less and less attention to the camera. I think when you pay attention to the shots, you're aware of the fact that there's a director.
I smuggled the camera, it was no problem to smuggle the camera there. And I took 60 photos, two films, during the time when there was no one in the control room, in the building.
This site uses cookies to ensure you get the best experience. More info...
Got it!