ABSTRACT
“Unless a film contains obviously intrusive camera work—flashing lights, rapid montage, striking camera angles—we have difficulty believing that there may be problems in interpreting film comparable to the problems we find in fully understanding the other arts. Because we have gotten so much from a film at first viewing, we often balk at any insistence that the understanding of certain canons, methods, and traditions will help us understand more. But we resist especially because films seem so real and therefore so self-sufficient, without need of any critical interloper to explain them to us.” (Braudy, 1976: 20)
