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at the cinema hinges on an essentially ideological effect owing to the impression of movement it creates, which is often misconstrued as actual movement.
In essence, there is the need to have a story with a meaning characterized by dissimilar experiences. The ideological effect hinges on economic, political, or social structures that define the all-powerful nature of humans. This is further stripped into concepts of class, sexual characteristics, or nationality. Apart from historical conditions, there exists the idealist perception that guides the illusions. Baudry successfully presents a persuasive argument based on the creation of a fictional unit for the camera. The nature of the apparatus sets in here, as it may contain or entirely limit the production of knowledge. However, his assertion that the apparatus may make the production of knowledge nearly impossible is still debatable.
Scientific advancements have initiated the use of sophisticated apparatus such as the telescope, which can decentre the universe. Similarly, a camera is able to create a subject that is automatically decentred. Baudry’s argument posits that the initial bases that camera effects depend on are largely ignored. In its place, people mostly focus on effects after a product is finalized. There are often diverse developments involved in between the two processes. Awkwardly, the end result may hide all these necessary components, and this results in the ideological illusions. Most films undergo the stages of scripting, decoupage, and shooting after the breakdown of the plot. In between these phases is the apparatus, the camera. To end with, there are the apparatuses that are involved in the editing process that determine the final effects and the results of the film. The end-product, the film, hides most of the work that ensures the achievement of this transformation.
According to Baudry, the projector and screen are two other apparatuses that are useful in the presentation of the final
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