Theorizations of motion pictures, cinema, film have developed in two closely parallel relations with the finished work: the hermeneutic and the heuristic. While these analytics are intimately related, they remain distinct protocols, each developing according to its particular relationship to the practicalities and limitations of production. Those theories that are hermeneutic in nature dominate the academic analysis and historicization of motion pictures. Primarily interpretative, hermeneutic theories develop in the abstract, according to their own internal logic and propositions that are then applied to the discussion and analysis of completed movies. Any potentials for prescriptive application to film production is secondary ...
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