Surveillance is a such a modern issue. The ethical considerations are, compared to other classic philosophical questions, almost completely new to us. Never before has technology existed to such a degree that the inhabitants of a city feel that everything they do is seen and recorded. Given the topic of this film, I find KJ’s long shots and use of deep focus to be extremely fitting. They suggest the view point of the U.S. government, giving us a perspective into how the intelligence community might see Kabul. In addition, many of her shots are high angles, which achieves the following effects: firstly, it makes her subjects look diminutive. KJ might be commenting on how the US government views the citizens of Kabul. They literally look down on these people from their high altitude blimp. Ignoring basic human rights of privacy and decency in favor of a hard nosed stance on the prevention of global terrorism.
The intent of this blimp is juxtaposed with the everyday sights of Kabul. KJ chooses to include carnival rides and children in her frames; these humanize a foreign land to a western audience, and they also shed light on how ridiculous it is to conduct 24/7 surveillance on an entire city. It is hard not to think about how many useless recordings must exists of children minding their own business, busy playing and enjoying life. KJ includes other juxtapositions as well though, often framing the “eye in the sky” with other common airborne objects. Children play with a kite that flutters around the blimp, which floats many miles away; even birds are framed right next to the blimp, furthering the notion that the blimp is recording everything regardless of its importance to national security.
Later, in the video we see a similar blimp floating in Maryland. KJ’s text reveals that a military spokesperson stated that there are no cameras on board. Yet, an after action report recommends that the blimp be kept up to keep enemies of the state on their toes even if the camera systems are broken. These statements stand in opposition. Are there cameras on board or not? Are Americans being spied on without our consent or knowledge? In the end, KJ doesn’t answer these questions. Yet, the take away point for me is how powerful juxtaposition can be. Her framing of the blimp against so many different environments, objects, and people suggest the different relations that each thing has to the blimp. KJ’s use of a camera to record everything makes me wonder what is worth recording, how should it be recorded, and who gave permission to be recorded. There is a unique statement being made by someone who records and captures images for a living concerning the omniscient recording of humans, a city, and life in general.