[1] It considers filmic images as signifiers that do not only encode meanings but also mirrors in which viewers accede to subjectivity.
[3] Here, the Marxist emphasis on universal consciousness as a basis for defining emancipation shifted to the articulation of diversities and multiplicities of individual and collective experience due to the psychoanalytic elaboration of the unconscious.
This is also explained by Screen's conceptualization of the post-structuralist theory, which regards a text as an act of intervention in the present so that the film is considered a work of production of meanings rather than reflection.
Screen theory's origins can be traced to the essays "Mirror Stage" by Jacques Lacan and Jacques-Alain Miller's Suture: Elements of the Logic of the Signifier.
[5] This theory describes an infant who has a fragmented experience of its body but once he looks in a mirror, he sees a whole being instead of fragmentary one.