Although the room where the installation is placed is not panoramic, the camera’s perspective in the film, which is a kind of aerial view above the crowd but at a certain angle where the faces of the people in the crowd can still be recognized, creates the space being somewhere within the crowd but simultaneously detached from it. The detachment comes in when one person in particular is picked out from the crowd and is being followed. The viewer then both the camera, or a person who is a part of the crowd but has attained a kind of autonomy.
Walter Benjamin, in The Work of Art in the Age of Mechanical Reproduction, points to the film as the medium by which a sub-reality can be manifested. By means of the commercialization of art, film, the new form, is a direct representation of modern experience. Film achieves this “through illusion-promoting spectacles and dubious speculations” and a hyper real sense through the gyrations of the camera; “the camera introduces us to unconscious optics as does psychoanalysis to unconscious impulses”. The viewer of the film subconsciously participates in a multi-layered medium that, like an injection, is a faster means of representation; the spectator’s process of association in view of these images is indeed interrupted by their constant, sudden change. “This constitutes the shock effect of the film, which, like all shocks, should be cushioned by heightened presence of mind. By means of its technical structure, the film has taken the physical shock effect out of the wrappers in which Dadaism had, as it were, kept it inside the moral shock effect”.