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The Camera: Je or La Camera: I: Directed by Babette Mangolte. With Chantal Akerman, Lucinda Childs, Kim Ginsberg, Epp Kotkas. A subjective account of the act of making still photographs.
The Camera: Je or La Caméra: I. During the 1960s, at the height of the Nouvelle Vague, Babette Mangolte (1941) was a regular at the French Cinémathèque in Paris, seeing everything she could and cultivating her love of the cinema.
La cámara en la mano escanea de forma azarosa el movimiento urbano con la intención de capturar los ruidos y la inmediatez de la metrópolis. Mangolte presenta una segunda dicotomía entre interior y exterior, silencio y ruido, retrato y paisaje, el control de la artista en su estudio y el movimiento espontáneo de la cámara en la calle.
The Camera: Je /La Camera: I (1977) is her second film, which explores the power relations that come into play in the process of producing images and some of the dichotomies inherent in the work of a photographer.
In this structuralist auto-portrait, Mangolte allows viewers to peer through the lens of her camera as she produces a series of still photographs, first of models, then of the streetscapes of downtown Manhattan.
The first section of THE CAMERA: JE is terrifying even though it is the most straightforwardly didactic part of the film. The spectator stares at photo models as they have their pictures taken and are given instructions about how to pose.
The Camera: Je or La Camera: I. The art of making still photographs.
