Filmmakers and scholars Christine Rogers, Catherine Gough-Brady, and Marsha Berry each find a connection with place through their video work. In this article, they share their experiences of creating short videos, focusing on their insider experiences of filming and the spatial relationships between themselves and place. Although each of them began with a proposition, they filmed unscripted, allowing themselves to respond intuitively to their environment, allowing space in their practices for fluid and organic change and letting place shape what they filmed, and their final works.

Christine Rogers engages with Elspeth Probyn’s idea of belonging as movement as she films Ngāi Tahu (Māori) traveling in dinghies away from her, toward islands where she, an outsider, cannot set foot. Catherine Gough-Brady finds a connection between non-representational theory and documentary film theory, uncovering a landscape that has no eye-line. Marsha Berry explores the seaside landscape, making a constellation with Rebecca Solnit’s lyrical essays about walking and place and non-representational theory as a mooring for her practice, exposing the common experience of standing still whilst looking at the blue horizon at sunset. Each filmmaker finds a unique path through the myriad of elements that make something a place.

电影制作人和学者克里斯汀·罗杰斯（Christine Rogers），凯瑟琳·高夫-布拉迪（Catherine Gough-Brady）和玛莎·贝瑞（Marsha Berry）都通过他们的视频作品找到了与地方的联系。在本文中，他们分享了制作短片的经验，重点是他们的内幕摄影经历以及他们与地方之间的空间关系。尽管他们每个人都以一个命题开始，但他们的拍摄却没有脚本，可以让他们直观地回应自己的环境，在他们的实践中留出空间进行流畅和有机的变化，并让他们塑造所拍摄的内容以及最终作品。

克里斯汀·罗杰斯（Christine Rogers）拍摄了Elspeth Probyn关于运动的归属感，因为她拍摄了NgāiTahu（毛利人）沿小艇行驶，远离她，驶向岛屿，而她是局外人无法涉足的地方。凯瑟琳·高夫-布雷迪（Catherine Gough-Brady）发现了非代表性理论与纪录片理论之间的联系，发现了没有眼界的风景。玛莎·贝瑞（Marsha Berry）探索海滨风光，并根据丽贝卡·索尔尼特（Rebecca Solnit）的抒情文章（关于行走和地点）以及无代表理论作为自己的实践进行了系泊，从而揭示了在日落时注视静止的常态。每位电影摄制者都可以通过无数的元素找到一条独特的道路，从而使某个地方成为一个地方。