A set of theoretical theses contrasting cinema and the life-world; cinema is described as a totalizing, non-linear apparatus anchored to the film reel, credits, cuts and industrial projection, while the life-world is decompressed, linear, characterized by spill, clutter and continuous movement. The text treats inscription of character, scopophilic fetishization, the flow of capital and desire, the camera as pineal gland and frame rates (16, 18, 24, 25 fps), and cites Edison and Metz. It concludes by proposing an indefinite film traversing continuous space and asserting mutual dependence of cinema and subject.