essages and themes, but are not responsible for them unless the messages and themes of the visual form of the film are in direct opposition to those of the narrative. In this sort of case, which is very rare, the audience may leave with many different impressions, according to the baggage they bring with them (Rosenblatt 1935), and how they viewed the film, as in paying more attention the narratives of either the visuals or the text. One possible example of this technique is the film "Apocalypse Now", directed by Francis Ford Cuppola, where Cuppola often had visuals on the screen which contradicted the text, in addition to using camera angles, frames and other cinematographic techniques to negate the message of the text.
             "Hochberg ( 1986) noted that perceptual processes and comprehension of even elementary sequences in the cinema cannot be explained properly unless narrative structure is taken into account. We cannot understand how the viewer grasps a cut between two shots, let alone a longer sequence of shots, without assuming that some mental structure is in operation, one that has been made active by the narration. At this point, film theory takes over. Current film theory is concerned with the role of narrative in film and the way narrative determines film style and film technology." (Tan x)
             While it is true that "Some Like It Hot" certainly demonstrated and reinforced the cultural norms of the writer's (Billy Wilder) cultural grounding, it cannot be said that the psychological analysis of the form proves anything other than it enhances the messages of the content (narrative story). The film is decidedly sexist, and the fantastic direction and cinematography enhance its messages. However, they deviate from Duval's Freudian concept of woman as sexual object of desire simultaneous with woman as object of fear of castration. In this film, the visual techniques masterfully enhance the narrati...