This thought is clearly relevant to narrative in general, whether reportage or fiction. There would still be a camera we can’t see. We could put the currently working camera into the picture, of course, but that would just change the subject, as Cavell remarks. The missing camera is ‘the one working now’, and its recurring absence makes Cavell feel there is ‘something unsaid’. He is writing of a literal movie camera, but he suggests a metaphorical reach for the claim too. ‘O ne can feel that there is always a camera left out of the picture,’ Stanley Cavell writes in The World Viewed.
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