Maree Delofski examines her own creative practice as a filmmaker. Using examples of emblematic moments in three films in her documentary corpus, A Calcutta Christmas (1998), The Trouble with Merle (2002), Tanaka-san Will Not Do Callisthenics (2008), she analyses the way ‘the real’ is constructed through the interplay between subject and filmmaker, arguing that authorship might be considered the outcome of a reciprocity that can develop between filmmaker and subject in projects filmed over extended periods.
Publisher version archived with the permission of the Editor, Scan, Department of Media, Macquarie University, NSW, Australia. This copy is available for individual, non-commercial use. Permission to reprint/republish this version for other uses must be obtained from the publisher.