ABSTRACT
Whenever perspective problems arise, the study of studios can provide insights into the situation, in as much as when researchers analyse film sets, they are initially confronted with the task of untangling point-of-view problems. When a film set formalizes modes of collective organization, it turns the question of perspective into a concrete, instrumental problem. As the history of cameras shows, it has never stopped generating new hybridizations, impure views that are neither purely human nor purely animal. The light and colour sensitivity of the cameras invented so far is different from that of the human eye. From the on-board point of view of the squid to that of the gorilla, into which viewers undergo the extraordinary experience of teleportation, accompanying it in its escape from liana to liana, people can see that it all concerns the same problem.
