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In last week’s blog post, I addressed the blurry boundaries which new media facilitates. After attending this week’s lectures and watching CitizenFour, I noticed how they also explicitly deal with a certain blurriness between the public and the private and how those notions have transformed through time. CitizenFour portrays Snowden as a private actor as reflected by the cinematography (close-up shots of his face, shots from inside his hotel room into the Hong Kong skyline) who acts politically, thus becoming public. In fact, the documentary includes many shots Snowden as an anxiety-ridden individual behind his hotel room window, relating to Keenan’s notion of the window as a connection between the public and private. Throughout the documentary, Snowden also deals with the question of celebrity and his ambiguous view on coming out is ever-present. While he explains his rationale behind seeking journalists to provide a non-biased view of the subject, he also links his “coming out” to his story’s legitimacy.