“Stephen Heath” signifies, not an author, but something like a “text” (Barthes 1977a: 157). A text takes the form of a weave, a multiplicity, entwining aesthetic, social, political and historical systems of signification. Noting that “fiction film” works to produce a “homogeneity”, “Heath” (still in quotation marks) writes that “in no way can it exhaust the textual system – the filmic process, the relational movement – which is precisely the term of its production” (1981: 133). In a review of Questions of Cinema, Heath's major collection of writings on film, Dana Polan sympathizes with the book's refusal of humanist concerns and notes both its focus on a new problematic (the articulation of Althusserian ideology, psychoanalysis and semiotics) and the writer's curious institutional position: “a writer on cinema and French theory in a department dedicated to Eng.