Modern (or ‘contemporary’) film theory marks a decisive break with the classical film theory of Rudolf Arnheim, André Bazin, Bela Balàsz, Siegfried Kracauer, and Victor Perkins. We can characterize this break as a transition from an extensional semantic to an intensional (or immanent) semantic theory of meaning. Classical film theory is a theory of cinematic representation premised upon mechanical duplication (upon the existential relation between film and referent) and is therefore based upon an extensional semantic theory of meaning. In contrast, modern film theory, beginning with the film semiotics of Christian Metz, corresponds to an intensional semantic theory of meaning, for it drove a wedge between mechanical duplication and cinematic representation and then defined the latter, not externally – as the effect of an existential link between film and referent – but internally – as an effect of codes.

Furthermore, the evolution of modern film theory can be characterized as progressing from an intensional semantic to a pragmatic theory of filmic meaning. Pragmatists study how successful communication is achieved on the level of language use. This is because, they argue, language's meaning is not determined in advance of its use.