If, in almost all advanced discourses of film theory, it is a commonly held position that the media self-reflexivity of an aesthetic object is virtually synonymous with an explicit political reflexivity, then it should be recalled, in line with Louis Althusser and Jacques Lacan, that even the most refined reflexive turn is always, in the end, condemned to failure when it comes up against the hard kernel of an “absent cause.” An apparently simple structural phenomenon, which can be described as a fundamental impossibility of every self-reflexivity, forms the point of departure for the following discussion on the complex theoretical history of the twin, inextricably intertwined concepts of enunciation and suture: the film camera cannot film itself in the process of filming. The original site of capturing the image in every cinematic shot appears as a blind spot. The entity that gives rise to the visible world remains necessarily external to it. The plenitude of the visible is thus based on the existence of an invisible site, the Inside on an Outside, the on-screen world on the off-screen world, the effect on an absent cause.