ABSTRACT

This chapter begins with the relationships Steadicam establishes between operator and environment. The first production to adopt Steadicam, Bound for Glory, like Rocky, turns these locations toward explicitly economic and ecological matters. 'The freedom of Steadicam', writes Kirkland, 'is manifest but at the same time limited': it 'gestures toward the implication of the subject while hinting that this interpellation is ultimately conditional, that one can, range their own perspectives as necessary'. Steadicam expresses Bazin's 'faith in reality', whereby spectators proceed in and through concrete perceptions to arrive at abstract representational meanings. Steadicam suggests coincident but nonidentical encounters between labor and capital, human and nonhuman that refuses both resource and refuge as models of freedom and responsibility among living and nonliving entities. Revealing 'the freedom that', according to John David Rhodes, 'Bazin relishes coercion', the device grants spectators liberties to which identificatory points of view reciprocally commit them.