ABSTRACT
This conclusion presents some closing thoughts on the concepts discussed in the preceding chapters of this book. The book presents an observation made about a 1970s Italian horror film, asking whether it was a stretch to think that a piece of scenic design included in the background of the shot, tucked away at the corner of the location being filmed, was a reference to a famous painting of a New York diner made in the 1940s. It argues about the importance of considering the position of realism within the film or televised frame. The book shows that realism was a flexible concept rather than an historical construction or category. A history of film and a history of television was used to put film and television design into context with other histories and to argue that the underlying commonality and central problem with set design that any critic must grasp was a problem regarding realism.
