1.The window and frame theories have their origins in the schools of formalism and realism. The main goal of both schools was to amplify the prestige of cinema. During that era cinema was a sideshow attraction, a high class form of entertainment was theatre, and the visual art forms of paintings and statues. Both schools saw cinema as a way of looking through an aperture while keeping the audience at a distance from the subject on the screen. Whether looking through the frame or through a window, the audience will view the subject matter but will only be able to absorb it. This is where the similarities end: the formalist led by theorist Sergei Eisenstein saw film as framing and creating shock in an attempt to provoke or raise awareness. Sergei Eisenstein created what he wanted audiences to see in his films. For example, in Battleship Potemkin Eisenstein wanted to deal with the situation with Russia and created the situation in his film to incite a revolution by creating chaos. The school of realism led by André Bazin saw cinema as a window. For Bazin a spectator would be a part of the film, more a witness than a simple spectator. In the movie Rear Window Jefferies witnessed the murder of his neighbor's wife while looking through the window because looking through a window what you see is real. 2. Sergei Eisenstein states that "an attraction is any aggressive moment in the theater" (Sergei Eisenstein Montage of Attraction). So attraction in cinema is based on what the viewer wants to see and what they expect to see, but it is also a moment in a film that triggers a reaction, be it physical or cognitive. Depending on the genre of the film, the audience enters the lobby with... in the middle of a sheet of paper... rain or sees threatening clouds which usually mean something bad is coming or a storm is brewing on the horizon. Iconic signs usually look like what they represent, like the avatar for a Farmville or Mobsters account. All three signs are prevalent in the cinematic image, they each have their own niche but they work together seamlessly to create the cinematic image. Take for example the beginning of Psycho (Alfred Hitchcock 1960) Janet Leigh lying in her bra on the bed, Janet Leigh was an icon of beauty and sexuality in that era. The characters Marion Crane and Sam Loomis were in Arizona knowing it's in the southwest, the first thought is that it must be hot and sand must be everywhere, those are indexical signs. The cheap hotel was a symbolic sign that both Crane and Loomis are doing something wrong or that they are too poor to go to a high class establishment.