Abstract
Director Kirsten Johnson's 2020 film <Dick Johnson Is Dead> uses a father suffering from dementia as the main subject of the film. The director is making an omnibus-type film by obtaining the father's consent and filming various possibilities of his father's death. The director, who already lost her mother to dementia, re-experiences the disease she herself experienced and reflects on how to view it by filming his father. However, in this process, the father is not just passively captured by the camera's gaze as an object of care, but is given an opportunity to reflect on the power structure of the camera's gaze. The father becomes a being who participates in the camera work, not a passive and miserable being who loses everything he has cultivated, and eventually goes to the being who proudly drops his own. The camera, which previously represented the power of vision, gains new possibilities as a medium by actively accepting the situation of acknowledging the object's full authority.
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