A key question for a process-relational account of a film is the question of how that film shows objects and subjects in the process of being made — how it shows subjectivation and objectivation arising together. Much of Ecologies of the Moving Image is about this, but what remains more implicit throughout the book is the way in which film itself expresses subjectivation.
I thought of this while re-watching Up the Yangtze, Yung Chang’s documentary about a “farewell cruise” on the Yangtze River before the completion of the final phase of the Three Gorges Dam.
