Altman isn't just trying to subvert the conventions of the genre, but is rather constantly calling to mind the tensions between the Western genre's expectations and his characters' inabilities to meet them.
The care put into each frame denies the viewer the usual accoutrements of passive viewing, down to the very physicality of the experience.
Structurally one can readily notice that Bergman was trying to participate in the touch-and-go slapstick style of comedy he had watched as a child--yet this homage all too often registers as an attempt to gratify the director himself, and not its audience.
Notari alludes to an idealized Italy, one without women in metaphorical chains, where torment isn’t romanticized, and where members of the lower class are seen as more than just creatures.
Cameraperson shows to its audience not just a woman, her life, and her body of work, but the power of the camera itself as a means of capturing the breadth of emotion humanity has to offer.