It begins with all of a lesson in the human anatomy: the place where the optic nerve that connects to the eye is a natural blind spot, but we are designed not to notice it. This must be problematic in our perception of the world around us. If it’s not an utterly fatal error, is it?
However, this will not stop us from understanding things, and if we make it that way, we will look like unhappy fools. However, we see researchers place sensitive caps on participants. Designed to detect reactions to media content, think A Clockwork Orange, but much better.
And then the film’s central narrative thread:
It was introduced when we saw a PR top named Steve Tuttle tour. That the corporate offices and manufacturing floors of a company called Axon. That makes electric shock cameras, body cameras, drone cameras. And other law enforcement tools.
The room, with its hallways, glass and metal structure, and large, awkward black box made of frosted glass. That towers over the rest of the workspace, looks like something out of a Marvel movie. In 2018, half of US law enforcement agencies used body cameras, and Axon made 85 per cent of them.
Happy Steve tells us all about surgery, handcrafted cameras and artificial intelligence training software. And how body cameras are supposed to mimic the human eye. Something like infrared night vision can separate the truth. About a police incident from the truth and the officer’s point of view.
We see Police officers from the Baltimore Police Department at a bodycam training seminar. Like the development of the Gatling gun in the 19th century. How people once strapped on dove cameras to take pictures from above. And how we now use drones and aeroplanes to do the same.
A scene from a community centre in Baltimore in which a high-profile. White man tries to sell his privately-owned crime-prevention drone surveillance system.
At the same time, his highly acclaimed black audience discusses its effectiveness (“Turn on the cameras,” said er. one person who was sceptical of the proposal). And a few scenes where Anthony reminds us that we’re watching a movie where he controls the narrative that relates precisely to Axon and the idea that whoever holds the camera delivers the final message.
Axon can control history in terms of police cameras:
But Anthony controls the story from Axon, who controls the story presented by Steve Tuttle’s touring company. So all light struggles everywhere with the ideas of objectivity versus subjectivity. Namely, the search for the former inevitably ends with the latter.
Because consciousness leads to the development of the concept of the former. Which is forever due to the certainty of the latter. According to mine. Many snakes eat their tails here, while ideas from Anthony’s calm and serene perspective are constantly being explored one step further.
The film’s calm serenity separates it from warlike politics. The vocal narrative is flat, almost robotic, and the overall the tone which is rooted in the analytical curiosity. It’s really tempting to say that Anthony loses focus. And I know this is a simple pun – on the subject.
Despite his meaningfully meandering tangents with a playful.
Almost bewildering look at the ancient science of photography. One of the more exciting side trips involves using phrenology and composite photography. As tools to identify what a “criminal” does actually looks like. Also, a pursuit that it leads directly to the eugenics.
The film also finds its most human elements in the Baltimore trailer. Which deals with the real pragmatism of surveillance technology with ideas rooted in idealism and research. The wrong side of the human view is also manifested in the drone designer’s use of drones “spy planes” of the phrase “God’s vision”.
Which is followed by his realization that the view from a great height. Which is what he believes to be his God. will see. Sometimes the subtext suggests that systemic corruption obscures objectivity, and a prime example is Axon. Which offers only a perspective from a law enforcement perspective.
The bodycam looks like a clear step forward with honest policing. But it’s more problematic than pragmatic when the tires hit the road.
All Light, Everywhere is by no means an ordinary documentary. Which is layered and densely packed with heady food and sometimes like a collection of essays on an enormous central concept – huge. However, in the end, there was a point.