The choice of writers in what follows is inevitably partial and selective. We have not covered some who might be considered to be major theorists by many, such as Pascal Bonitzer and Jacques Aumont (both associ- ated with the journal Cahiers du cinema), whose work in the 1980s in particular examined the relationship between painting and film; their purpose was at least partly to bolster the notion of the auteur in the face of the cinema du look and other 1980s trends, such as the superproductions (see Aumont, 1989; Bonitzer, 1985; see also Darke, 1993: 374-5 for a brief discussion of this point; Aumont’s better-known work in the Anglophone arena is his work on the image, see Aumont, 1990, trans- lated in 1997). The fortunes of those theorists we shall examine in more detail have been variable. Daney’s work has not appeared in translation, and despite his prominence in the French arena, he is relatively unknown to Anglophone film writers. The issue of space in the cinema is a recent development, although Gardies does not figure high as a theorist in such debates, since the approach to space in the cinema has been, by and large, pragmatic rather than theoretical. Burch’s work is frequently anthologised in English translation, as is Chion’s. Deleuze in particular has assumed increasing importance for Anglo—American as well as French theorists and critics.