ABSTRACT
To sum up everything that I have said: it should be possible to discern the conditions for a fruitful practical theoreticisation, so to speak, in this kind of general sense.
Postulating, or attempting to postulate, a number of questions relating to the essence of film, is a necessary and urgent task because the theoretical kitchen of the contemporary bourgeois cinema is guided by appetites that are too transparently class-based and exploitative for us to dine seriously on this diet in our own film work.
