shoots the location in the hope that the host will eventua lly revea l a truest stor y. This is up to a point where the location itself questions the presence of the foreign g uest: if the presence of the g uest, or the camera, can create a distance, then to what extent can f ilm represent the truth of the location? Then the g uest continues the journey. This time, the g uest chooses to mingle and surrender to the host, posing as a harmless player in a game while continuing to shoot. To discover the rea lit y, the foreign g uest must not be used in the same way that follows its grand principles. In other words, it must be used in a cultura l way, as opposed to its technica l logic. At last, the host treats the foreign g uest not according to its technologica l norms, but in a horizonta l, decentra lized way according to the location. This can lead us to speculate that the location, in an ega litarian manner, is gazing back at the foreign g uest who is no longer distant and has now transformed into a loca l knowledge. The f ilms in this curatoria l offer a glance to the various methods of documentar y f ilm in revea ling the truth by demonstrating how a camera acts in a socia l landscape and how the locations in these f ilms respond to the arriva l of the foreign g uest who puts them in a spotlight. We can see the different ways the locations treat a camera who struggles to revea l the truth and surrenders itself to the socia l landscape. The location with a ll the knowledge inscribed in it unveils the obsolescence of the grand technologica l principles. D epar ting from these t wo f ilms in this curatoria l, I found an interesting point: a camera can never completely brea k away from its technologica l principles, but it can a llow itself to be used according to the loca l knowledge inscribed in loca l bodies. When a camera that stubbornly maintains its principles and penetrates the deepest space to highlight the true nature of rea lit y, it turns into a smuggler; and once confronted with ethica l issues, it will choose to stop its actions. It is different when a camera surrenders to ega litarian hands, to a location that turns this encounter into a game, up to a point where the camera discovers the treasure trove of knowledge. We can speculate that the camera turns modest when it faces a location capable of gazing back. The foreign g uest must believe that the location has its own way of uncovering the truth, which is expressed by the equa l and decentra lized horizonta l hands.
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