In the introduction to The Eloquent Screen: A Rhetoric of Film, the late Gilberto Perez proposes that rhetoric offers a distinctive lens through which to conduct critical scholarship since it occupies a space between the poetics of construction studies and the responses of reception studies. For Perez, current trends in filmic analysis favour both philosophical and ideological perspectives. With this in mind, he journeys the well-trodden environs of cinematic discourse where he cleverly parallels his position on rhetoric as a methodology with a wealth of established criticism. He argues “rhetoric is not only language but also gesture, movement, action. Rhetoric is performance. And like all performance, it’s addressed to an audience ” (p. 2).

中文翻译：

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吉尔伯托·佩雷斯 (Gilberto Perez) (2019) 雄辩的银幕：电影的修辞

在《雄辩的银幕：电影修辞学》的导言中，已故的吉尔伯托·佩雷斯提出修辞学为开展批判性学术研究提供了一个独特的视角，因为它占据了建构研究的诗学和接受研究的回应之间的空间。对于佩雷斯来说，当前电影分析的趋势有利于哲学和意识形态的观点。考虑到这一点，他在电影话语的广为人知的环境中旅行，在那里他巧妙地将修辞作为一种方法论的立场与大量既定批评相提并论。他认为“修辞不仅是语言，而且是手势、动作、动作。修辞即表现。和所有表演一样，它是针对观众的”（第 2 页）。