Abstract
How can we understand the ecosophical approach of a film like Leviathan, which refuses conventions of representational filmmaking? Drawing on Raymond Ruyer's notion of survoler, or self‐survey, to describe a mode of witnessing without distance, this article explores two aspects of self‐survey in Lucien Castaing‐Taylor and Véréna Paravel's groundbreaking work of sensory ethnography. Both the ubiquitous seagulls and the innovative use of GoPro cameras here propose witnessing as an ethico‐aesthetical act in a way that challenges documentary norms.
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