ABSTRACT
The political content that is explicit in the film is merely that it carries a 'message' that reflexive, contemporary approach in cinema to social issues that does not necessarily need to push a manifesto in order to be political. In a recent intervention in the political journal Historical Materialism, Sean Homer recounts the necessity that arose in post-1968 cultural theory to theorize the subject within cinema, for the political project of the British film journal Screen, He outlines a number of problems that occurred wit 'Screen theory' and the debates through which many theorists of the early-to-mid-1970s collectively developed a theory of the cinematic apparatus. For film theory, it seemed that semiotics and psychoanalysis would remedy perceived deficiencies in Marxist accounts of subjectivity by supplying it with a theory of language and of the construction of the subject through Althusser's use of Lacan.
