The picture above is taken from the 1963 French film Le Mépris which, in an opening sequence, draws attention to the contrived nature of film-making by filming with a camera (a) a facing camera (b), itself seemingly in the process of filming given it has a cameraman at its helm, which is pointed at us the camera (a)-enabled screen-watching audience.
It has struck me for a number of years now, to the point where my sanity was questioned by my father over the issue, that the camera that enables the motion pictures of video to manifest by means of a screen that displays visual media, be it a TV, a smartphone, a cinema silver-screen or the laptop computer I'm currently typing into, can be read as being a character in and of itself, whether it be the all-seeing eye, God, the omniscient narrator of story-telling, human Da-sein as Master of the World (see How to Become Master of the World) or as the evil one of Christian metaphysics (see Lucifer, Light Bearer and God as Symbol), a self-effacing, i.e. screen-ing, window into another world or even Kubrick's 2001 monolith as disclosed by film analyst Rob Ager...
The camera enables not only the display but the recording of that which lies before its eye, in a way far more accurate and unforgiving than that offered by the distracted vagaries of average human perception and the fallibility of its memory (see A Brief Anatomy of Perception). As such, the camera is a form of technological witness to whatever is being displayed and recorded, consciously or not (as in the case of the hidden cameras of closed-circuit television), before its artificial lens that enables our human eyes, themselves embodied to our mind, to witness and evaluate that which is being (as in live recordings) or has been (as in most YouTube videos) captured by said lens, provided we have a screen on which the moving-images of video can be displayed.
Perhaps of more fruitfulness for philosophy is that, similarly to human perceptual apparatus, a camera's lens necessarily offers a point of view, i.e. one angle out of an infinite number of possibilities of a more or less persuasive, creative and manipulative nature, depending no doubt on the wielding consciousness - together with its intentional biases - behind and responsible for the camera's operation. Moreover, what one chooses, with more or less awareness, to 'put on film' - i.e. digitally record and show to the world - is itself a statement, just as the mere titles of all my 'thoughts' blog posts on ScruffyOwlet's Tree are themselves statements revealing only of my point of view.