Abstract: The relationship between the filmmaker and the subjects can be understood as the conflicts or coordination among “multi senses” or “bodily senses” from the interactive perspective of visual anthropology and anthropology of senses. The author’s personal experiences of filmmaking chanoyu teaching and learning are cited here as a case in point. In chanoyu teaching, the practitioners were asked to concentrate on one thing at a time and practice the same thing many times. Disliking such “mechanical” practice at the beginning, the filmmaker was “evoked” by the use of camera, gradually developed an understanding of the practice, and finally shared the same feelings about concentration as other practitioners. This process reveals the relationship between the filmmaker and the subjects, which not only touches upon the issues of cooperation and the power and ethics of images, but also involves the sensory fields both the filmmaker and subjects have. In view of this, observational film is not simply a participant observation with the camera, but also sensorial participation and sensory interaction between the filmmaker and the subjects. 

Key words: Key words： filmmaker, subjects, senses, intersensoriality, concentration, chanoyu