 Inspired by J. L. Austin’s notion of the performative, which Nichols avoids, Bruzzi argues that documentary films are by default performative because they are “inevitably the result of the intrusion of the filmmaker onto the situation being filmed.” In particular, Bruzzi considers documentaries that foreground the “artificialisation by the camera” perfect examples of the performative mode.Hongjian Wang (2016) extends the discussion of the performative mode by Nichols and Bruzzi to the “performing camera,” which documents by reenacting the subjective perspective of the subjects (not necessarily that of the filmmaker) in the documentary films.By “performing” the point of view of the subjects, the performative documentaries put the audience in the positions of the subjects.