Editing Meshes of the Afternoon (section)

===Joseph Brinton's discussion===
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In Joseph Brinton's 1947 essay "Subjective Camera or Subjective Audience", he states that "the symbolic picturization of man’s subconscious in Maya Deren’s experimental films suggests that the subjective camera can explore subtleties hitherto unimaginable as film content. As the new technique can clearly express almost any facet of everyday human experience, its development should presage a new type of psychological film in which the camera will reveal the human mind, not superficially, but honestly in terms of image and sound."<ref name=Brinton>{{cite journal |last1=Brinton, III |first1=Joseph P. |title=Subjective Camera or Subjective Audience? |journal=Hollywood Quarterly |date=July 1947 |volume=2 |issue=4 |pages=365 |doi=10.2307/1209531 |jstor=1209531}}</ref>

Jacobs' critique that "the film is not completely successful, it skips from objectivity to subjectivity without transitions or preparation and is often confusing", represents one point of view. However, others take the film's approach to be a direct representation on the character's thought patterns in a time of crisis: "Such a film should indeed endow the cinema with a wholly new dimension of subjective experience, permitting the audience to see a human being both as others see him and as he sees himself."<ref name=Brinton />