In the first caption, Kirsten Johnson asks the audience to view the footage she filmed for other directors during her twenty-five-year career as a cinematographer as her own memoir. Fragments of tragic spaces in Bosnia, Yemen, Afghanistan, Cuba, and other nations stained with civil wars, genocides, and war sex crimes unfold onscreen. Among those images, the director inserts clips from home movies featuring her twin daughter and son as well as her mother who is suffering from Alzheimer’s. The only thing that connects this mix of disparate images is the camera between the world and the “I” of the director (Kirsten Johnson). It is a unique meta documentary and an excellent autobiography of a “cameraperson” that contains an ethical inquiry into the relationship between history and the individual, memory and oblivion, image and gaze, reality and fiction, and pain and spectacle. (KANG Sowon)