ABSTRACT
Part I of this book dealt with the reception of cinema as performance. Reception can be defined as the blurring of boundaries. The preceding chapters have attempted to demonstrate just how contingent and mobile the boundaries between the world of the screen and the acoustic, social and architectural spaces around the screen really were. I have argued that each of these spaces was always ready to enter into a ‘reception game’ with what took place on the screen. The game consisted in making the main semiotic boundary — that between the text and everything that was not the text — diffuse and unstable.
