the general system of relationships among the parts of a film

the theory that meaning exists primarily in the form or language of discourse rather than in the content or subject.

the Soviet movement of the 1920's that developed these ideas.

theory that deals with form rather than function or subject.

in form, the frame drastically limits the space of the scene, suggest that the limits of the frame are the limits of artistic reality. In form, mise-en-scene and design elements of the frame conspire to make the audience aware of the continuous space beyond the limits of the frame suggesting that reality continues outside the frame.