particular scene, Deren is walking up a normal set of stairs, and each time she pushes against the wall, it triggers the camera to move in that direction, almost as if the camera is part of her body. As she pulls herself up the last stair, the top of the stairs leads her to a window in her bedroom, which breaks the expectations of the viewer. In doing so, Deren destroys the normal sense of time and space. There is no longer a sense of what space she is in, nor for how long is was there. Deren constantly asks the viewer to pay attention and remember certain things by repeating the same actions over and over with only very subtle changes. A recognizable trait of Deren's work is her use of the subjective and objective camera. For instance, shots in Meshes of the Afternoon cut from Deren looking at an object, to Deren's point of view, looking at herself perform the same actions that she has been making throughout the film. This conveys the meaning of Deren's dual personality or ambivalent feelings towards the possibility of suicide. It is Lewis Jacobs's opinion that "the film is not completely successful, it skips from objectivity to subjectivity without transitions or preparation and is often confusing." An example of Jacobs's comment would be when Deren cuts to her point of view, which normally is an objective shot, but in this POV shot she is watching herself, which is subjective. The viewer cannot expect Deren's POV shot to contain herself. Joseph Brinton's discussion 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 suggest 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." 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