The documentary genre proposes unique opportunities to explore and depict ‘reality’, attempting authenticity of human feelings and events. “First Person Plural” by Lynn Hershman reveals how effective the documentary film could be. This film provides the natural power of the visual image and gives a “point of view” and a clear persuasive ‘intent’ to the target audience. The uniqueness of modern documentaries is that they teach audiences ‘about how to be a citizen in the real world’ through personal examples and life stories. The ‘First Person Plural’ is an autobiographical documentary depicting life troubles and grievances faced by a Korean woman during her childhood. In this film, Hershman unveils that a woman’s consciousness and self-identity are shaped by the social environment, family relations, and domestic violence. The notion that women in particular have a more fluid sense of self, developed in their relationship to their family, has become one of the sites of the autobiographical documentary (Barnouw, 1992). The promise of exploration or revelation of a ‘self’ has made an autobiography of immense interest to modern viewers but has also highlighted problems and confusions faced by modern society. Hershman puts both the notions of ‘self’ and ‘life’ under close examination describing the ‘real life’ and ‘real selves’ of the main characters (Aufderheide, 1997). She underlines that in ‘real life’ women are categorized as ‘objects’ by patriarchal cultures, and her autobiography gives an opportunity for many women to express themselves as ‘subjects’, with their own selfhood (Renov 2005). For Hershman, to be ‘a citizen’ means to protect herself from oppression and violence, to become an independent and honest person. Hershman comments: “I always told the truth… for the person I was. But the personas kept fluctuating. They would see things from all sides… and be afraid of all sides” (Hershman 1995). This ‘self’ is a regulating, collecting, disposing of concept. Hershman portrays that by constraining others to speak and to be recorded, a woman realizes and finally possesses her own self. The uniqueness of the documentary is that it records and regulates the rationality of the male and patriarchy. For instance, Hershman depicts that she was a victim of child abuse and family violence. The purpose of this documentary is to reflect upon ethical aspects of the various elements of political culture. The Ethic of resistance together provides a valuable means for reclaiming and revitalizing ethical norms. The autobiography portrays the morals of contemporary society, the collective customs, and the practices of modern culture. She unveils unique standards upon which to evaluate morals (Aufderheide, 1997). The relations between subjective and objective are evident in this documentary. The subjectivism is found in the personal position of the author and her unique vision of life and reality. Hershman virtualizes reality which bears the hallmarks of ‘the social’ and the kinds of people who are found in social life: it derives from ‘actual reality’ and it is used to manage ‘actual aspects’ of it and ‘actual people’ therein. Moreover, these virtualization processes change not only the relationship between what is real and what is false, but they also have shared perceptions of what this is, and what is real. Virtual systems dissolve the boundaries of the real and the vi