ABSTRACT
Our concluding chapter is something of an experiment. I want first to step back from the analysis of film that has occupied us for most of this book and see cinema as part of broader concepts of cultural theory and practice. Second, I want to take two very different films—Alfred Hitchcock’s Vertigo (1958) and Judd Apatow’s This is 40 (2012)—to see how we might read them both as cinematic works, unique or conventional, and as part of the culture that they belong to.
