My aim in this book has been to outline the film spectator's cognitive capacity as theorized by the cognitive film semioticians, whose work is united by the same project: to combine film semiotics and cognitive science, with the objective of modelling filmic competence - that is, the spectator's knowledge or intuitions about filmic meaning. To offer an outline of this work I have had to mediate between the insights of the Language Analysis tradition and cognitive science (the twentieth century version of epistemology). As we saw in Chapter 1, these two traditions are usually opposed to one another, since the Language Analysis tradition replaces the epistemologists' assumption that we have immediate access to our own thoughts with the assumption that we only have indirect access to our thoughts via language and other intersubjective sign systems. Chomsky's linguistics creates a synthesis between epistemology and Language Analysis, thus avoiding the idealism and first person perspective of epistemology and the (quasi) behaviorism of the Language Analysis tradition. Chomsky's work on competence therefore epitomizes what this book is all about.