In this study the author challenges both cognitivist-historicist accounts of cinema and conventional film-theory. Arguing
that the reading of Lacan operative in the 1970s and 1980s was particularly reductive, he asserts that there is "another Lacan"
in reference to whom film theory, cultural studies and critical thought as such can be transformed and revitalized. He supports
this argument with readings of Tarkovsky ("Stalker", "Nostalghia"), Kieslowski (the "Three Colours Trilogy") and Lynch ("Lost
Highways"), demonstrating how their work can be saved from obscurantist analysis by Lacanian interpretation.