In chapter 2, we clarified the process by which different components of special edition DVDs are produced. Particular attention was accorded to the commentary track since this is one feature specifically enabled by the format itself. At its best, commentary by directors and screenwriters can afford a glimpse of the care and deliberation behind the production of movies: how details are carefully weighed for significance, how patterns of meaning are built up and maintained, and how the editing process shapes meaning out of conflicting visions. It also shows the limits of intention, that is, the ways in which contingency and chance in shooting a film can become part of meaning. For those unaccustomed to thinking in terms of the deliberate processes of construction, selection, and concentration crucial to art, these commentaries—delivered by authoritative figures such as directors, writers, and set designers—can be a valuable, pragmatic introduction to the study and enjoyment of film. In this chapter, we would like to examine one facet of the DVD’s reorientation of film, the new prominence it gives to questions of intention, both directorial and cinematographical, and to speculate on the curious fitness of this recrudescence for the present moment.1
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