The main difference that Sitney discusses between "Un Chien Andalou" and "Meshes of an Afternoon" also describes the difference between the "trance film" and ones that came before it. In "Meshes," the heroine's experience is mainly interior, whereas a more surrealist film (like "Chien") takes on a voyeuristic feel. "Meshes is all encompassingly self revealing, whereas "Chien" (as Sitney says) "imitates the irrationality of the unconscious." "Meshes" expresses the inner sexuality of the protagonists, whereas the voyeurism is "Chien" represents the pent up sexual desire of the main character.

Sitney says that "Choreography of the Camera" represents the change from narrative films to imagistic. It involves the "isolation of a gesture as a complete film form." The symbolic leap in the film illustrates how a simple single movement can connote more emotion. The film relies on its images to create an aesthetic viewing experience that can be harder to interpret, but can be more interesting than a narrative approach.

"Transition in Time" is a transition between the pychodrama and the trance film.

Sitney describes Deren's "Ritual in Transfigured Time" as an effort at synthesis. He describes it as a ritual in terms of the camera techniques, and I do agree with him that the repetition of slow motion, freeze frame, etc. have a ritualistic feel to them. However, he talks of the mythological elements as if the film is more about divine powers or spiritualism. I can't say I disagree because it is up to interpretation, but that is not what I took from this film. I felt it was more about identity than anything. The multiple copies of the one woman in the film make me feel that she is struggling with something inside of her. She has many different personalities interacting, and in this dream they are confronting eachother and exploring the same scene from different outlooks.

The "filmic dream" that Sitney referes to is the ultimate form of expression according to many filmmakers. When the filmmaker can be the creative force behind the lense AND act as the main character in the film, that is the most extreme self expression one can achieve.

Sitney sums up "Inauguration of the Pleasure Dome" to be a representation of man into different identities. Although all the characters are most expressive when they become most godlike, they still serve the one being, The Magus, and it is clear in the end that that is where their divinity comes from. In the end, it is all from the central power. On a grander scale, however, he says that the theme of the film is the "triumph of the imagination."