'Whatever its merits and defects may be, the model of an artistically intended and aesthetically experienced film as a specially constructed and experienced world is not a reductive one. It does not, in other words, whittle down narrative cinematic art to one or another partial aspect, magnified out of proportion, in the attempted application of a single, all-embracing, one-size-fits-all theoretical system or doctrine nor to an excessively narrow empirical research program. Of course theory is not the same as history or descriptions, but it must do justice, if it is to be pursued at all, to the multiplicity and complexity of the phenomena it attempts to organize and understand, which, in this case, is also naturally, historically, and culturally shaped and mediated to a profound degree. Above all, film theory (as also intersecting with the philosophy of film) must (still) seek to capture, however necessarily in a series of relatively pale abstractions, something of the full and actual sources and effects of narrative cinema’s artistic spell.'

Daniel Yacavone, Film Worlds: A Philosophical Asthetics of Cinema, publisher: Columbia University Press

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