to be communicated can be hindered, distor ted, and even completely lost. Thus, the message did not arrive. On the other hand, problems related to the non-deliver y of messages in a communication process are a lso related to the smoothness and securit y of the communication line. The smooth transpor tation of goods and messages through this route often determines the effectiveness of system controls. In the militar y, the term ‘communication line’ is a lso used to refer to a route that ser ves as a command deliver y route and a transpor tation route for militar y supplies and assistance in operation. It is on this route that messengers or despatch riders work to deliver logistics and essentia l messages. In times of war, the speed of brea king the cipher and conveying information and logistics plays a crucia l role in determining victor y. It’s no wonder that the wars in the modern era have pushed the world’s information and communication net work technolog y revolution. In this communication technolog y, visua l communication is increasingly f inding its momentum of glor y. From it, visua l production seems to be accelerated and reaches its zenith, especia lly when ever yone can produce and enjoy visua ls at the same time. This is made possible by the revolution in camera technolog y as an image production technolog y that is increasingly accessible for the wider public. The mechanism of camera work that ta kes place by capturing light to form images is inseparable from work that produces perspective. As an optica l phenomenon and as a socia l phenomenon, perspective a lways has double potentia l: distor tion or clarit y. Even seemingly trivia l issues can come with or/in a cer tain perspective as the camera evolves to its simplest form, a llowing it to f it into the sma llest nooks in life. The intensit y of a problem can be fur ther emphasized or even disg uised when the camera frames it and montaged into a single work. The perspective built by the frame and depth of camera shots a lso often creates illusions. Jean Rouch through his work titled Chronicle of A Summer (1961), offers cinematic lang uage that shows his par ticipation and interruption to the construction of rea lit y in f ilms. He does this by presenting himself and the camera in the f ilm itself. This action a llows the f ilm to express the position that the rea lit y in the f ilm is not just pure rea lit y. Instead, this lang uage reminds us of the position of power behind the camera that can control the f low of an issue. The relationship bet ween camera and power is inseparable from the control system mat ters. The camera’s sophistication is a necessit y for the authorit y control system that is increasingly able to monitor the landscape of its power. However, when the control subject has lived with an awareness of the media or at least can position themselves in the line of communication as a communicator, then the camera’s sophistication can produce a counter-discourse for the main control system. It can create more perspectives on issues because, at the same time, there emerge new penumbra l zones.
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