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Bordwell tries to demonstrate that poststructuralist film criticism owes much less to poststructuralist theory than to the set of inferential patterns and rhetorical devices that have been widely used by film critics of various persuasions since World War II. From Bordwell's standpoint, poststructuralist film criticism's emergence in the 1970s and its dominance in the 1980s did not introduce anything particularly new in film studies; on the contrary, its proliferation ensured the continuation of routine interpretive practices to such an extent that film criticism has become totally repetitive and uninteresting.