ABSTRACT
Our fi eld of composition and rhetoric now fervently analyzes visual “texts.” But seldom do the objects of this new research include mainstream fi lms. We are more apt to analyze the rhetoric of ads, websites, and photographs. True, we have investigated moving images integrated into multimedia works. And granted, we have not completely neglected Hollywood’s canon and its recent fare. For instance, examples of both are analyzed in David Blakesley’s anthology The Terministic Screen: Rhetorical Perspectives on Film. Yet, as a tome about typical fi lm rhetoric, his book has no real competition, and some contributors to it identify with disciplines other than ours.
