Subjective cinema has long entered the standard repertoire of filmmakers as an original way of breaking rather than transcending the fourth wall. In Eastern Europe, the method has recently been particularly popular with documentarians, who have used it to address topics as diverse as Communism, sexuality, poverty, childhood, WWII, television, or corruption. The approach is...
In his essay on the Polaroids of Andrei Tarkovsky, Gawan Fagard draws parallels between the ontology of the medium and the work of the Russian director.
