suture. This term means, literally, to stitch up (from the medieval term for stitching up a cut or wound). In film theory suture has come to mean, in its simplest sense, the means by which the spectator is "stitched" into the filmic text. The term is derived from Lacanian psychoanalysis and during the 1970s and early 1980s the debate around suture and its application to film was a contested one but one that was introduced because of a perceived need to describe the relationship between film and audience. ["The concept of suture attempts to account for the means by which subjects emerge within discourse. [...] Suture can be understood as the process whereby the inadequacy of the [viewing] subject's position is exposed in order to facilitate (i.e., create the desire for) new insertions into a cultural discourse which promises to make good that lack. Since the promised compensation involves an ever greater subordination to already existing scenarios, the viewing subject's position is a supremely passive one, a fact which is carefully concealed through cinematic sleight-of-hand. This sleight-of-hand involves attributing to a character within the fiction qualities which in fact belong to the machinery of enunciation: the ability to generate narrative, the omnipotent and coercive gaze, the castrating authority of the law." from: Silverman on suture] See also: Browne, "The Spectator in the Text."