Both are formative structures, mechanisms not meaning. In themselves they have no signification, they have to be attached to an idealisation. Both pursue aims in indifference to perceptual reality, creating the imagised, eroticised concept of the world that forms the perception of the subject and makes a mockery of empirical objectivity. During its history, the cinema seems to have evolved a particularillusion of reality in which this contradiction between libido and ego has found a beautifully complementary phantasy world. In reality the phantasy world of the screen is subject to the law which produces it. Sexual instincts and.
