Current film editing techniques are more than likely partly responsible for the silly naive realism that seems to underpin so much of our thinking about ourselves. It used be, in early film, and hence also in experimental film, that the camera represented a single point of view, and that was important. But with modern editing, view changes. The distributed logic of film editing does violence to the notion of a single point of view. I bet that’s a modern change brought about by film. Perhaps changing again right now though, with the proliferation of cameras that do stand in rough correspondence to single points of view. The Tsunami, for example.