Abstract
In this article I describe some aspects of Joseph Anderson's theory of film, and evaluate these in the context of ecological theory. My analysis of Anderson's interpretation of the work of James Gibson leads me to conclude that there are unresolved issues in Gibson's theory of depictions (still and moving pictures). I suggest that some of these issues might be clarified through a closer consideration of perception as an exploratory act and of film as an instrument that guides exploration. In the process of developing this argument, I provide suggestions for empirical research that might be useful in evaluating film theories.
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