ABSTRACT
With this chapter we come to a turning point in the book: after having argued in Chapter 1 for the necessity of fine-grained analysis that is not restricted to working out ‘what is going on’ and tracking chains of cause and effect, and then in Chapters 2, 3 and 4 articulating a more contemporary view of semiotics, documents and multimodality as these notions apply to film, it is now time to start building the analytic framework itself.
