Resumen
In the early 1940s Japan, cinematographers and critics feverishly discussed the notions of immediacy and authorship in relation to documentary practices. The status of cinematographers as the authors of the images that they shot was particularly questioned in those conversations due to the mechanical nature of the motion picture camera. This article mainly focuses on the discussions in the journal Eiga Gijutsu (Film Technology) in 1941?1942 over the notion of culture, and examines how cinematographers imagined their new roles in documentary practices in the cinema.