1.Theories of the window and the frame have their origins in the schools of formalism and realism. The main objective of both schools was to amplify the prestige of cinema. At that time, cinema was a secondary attraction, theater and visual arts consisting of paintings and statues were a high-class form of entertainment. Both schools viewed cinema as a way of looking through an aperture while keeping the audience at a distance from the subject on screen. Whether looking through a frame or through a window, the audience would see the subject but could only absorb it. This is where the similarities end with the formalist approach of theorist Sergei Eisenstein who saw the film as a framework and which would create a shock in an attempt to provoke or awaken awareness. Sergei Eisenstein created what he wanted audiences to see in his films. For example, in Battleship Potemkin, Eisenstein wanted to address the situation with Russia and he created the situation in his film to incite a revolution by creating chaos. The school of realism led by André Bazin saw cinema as a window. For Bazin, a spectator would be part of the film as a witness rather than a mere spectator. In the film Rear Window, Jefferies witnessed the murder of his neighbor's wife while he looked out the window, because when looking through a window, what one sees is real.2.Sergei Eisenstein expresses that “an attraction is any aggressive moment in the theater” (Sergei Eisenstein Montage of Attraction). So attraction in cinema is based on what the spectator wants to see and what he expects to see but it is also a moment in a film which provokes a reaction, whether physical or cognitive. Depending on the genre of film, the audience enters the atrium with...... middle of paper...... rain or sees threatening clouds which usually mean something bad is coming or that a storm is looming on the horizon. Iconic signs usually look like what they represent, like the avatar of a Farmville or Mobsters account. All three signs are prevalent in the cinematic image, they each have their own niche but they work together seamlessly to create the cinematic image. Take for example the beginning of Psycho (Alfred Hitchcock 1960), Janet Leigh lying in her bra on the bed, Janet Leigh was an icon of beauty and sexuality at that time. The characters Marion Crane and Sam Loomis were in Arizona knowing that it was in the southwest that we first thought it must be hot and there must be sand everywhere, these are signs indexicals. The cheap hotel was a symbolic sign that Crane and Loomis are doing something wrong or that they are too poor to go to a high-end establishment..