Lev Kuleshov is credited with developing the theory of montage, which is considered a fundamental principle of film editing.

Catharsis, identification, and empathy are all terms used to describe the viewer's emotional and psychological response to a film.

Pierre Bourdieu argued that the viewer's experience of a film is shaped by their social and cultural context, including their class, gender, and race.

Point of view, camera angle, and framing are all techniques used to position the viewer in relation to the narrative.

Roland Barthes argued that the viewer is an active participant in the construction of meaning in a film, and that the meaning of a film is not fixed but rather is constantly being negotiated by the viewer.

Ideology, discourse, and hegemony are all terms used to describe the way in which a film reflects the values and beliefs of the society in which it was produced.

Sigmund Freud, Jacques Lacan, and Slavoj Žižek have all argued that the viewer's experience of a film is shaped by their unconscious desires.

Mise-en-scène, cinematography, and editing are all techniques used to construct a sense of reality for the viewer.

Laura Mulvey, Kaja Silverman, and Teresa de Lauretis have all argued that the viewer's experience of a film is shaped by their gender.

Narrative structure, editing, and flashback are all techniques used to construct a sense of time for the viewer.

bell hooks, Manthia Diawara, and Stuart Hall have all argued that the viewer's experience of a film is shaped by their race.

Mise-en-scène, cinematography, and editing are all techniques used to construct a sense of space for the viewer.

Pierre Bourdieu, John Fiske, and Richard Dyer have all argued that the viewer's experience of a film is shaped by their class.

Sound design, music, and foley are all techniques used to construct a sense of sound for the viewer.

Judith Butler, Eve Kosofsky Sedgwick, and José Esteban Muñoz have all argued that the viewer's experience of a film is shaped by their sexuality.