ABSTRACT
The preceding discussion addressed the issue of boundaries between films within the performance. This chapter will deal with text reception at the level of the image and will concentrate on two problems: the forefront boundary of the moving image as defined by the historical viewer, and what was perceived as its temporal boundary-the moment when the image ‘disappeared from the screen’, to repeat the expression used in those days. In short, the chapter will focus on the screen and the cut. I will argue that both the status of the screen and the status of the cut are historically specific.
