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玛丽—克莱尔·罗帕尔深信影片构成材料在本质上的异质性无法归结为符号逻辑,她力求寻找一种方法,能够保持一切读解活动的基本多义性。她认为,尚无可以说明电影特殊性的理论模式。因此,当她“借用”德里达、邦弗尼斯特或爱森斯坦的理论时,也总是按照自己的独特视角对这些文章“加工取合”。勒达·邦斯玛雅则把这种方法比作巴尔特在《S/Z》一书中的作法,把任何本文都视为同一的本文的一部分。玛丽—克莱尔·罗帕尔认为所有影片都归属于这种同一的本文。
Mary-Claire Ropal, convinced of the inherent heterogeneity of the film’s constituent materials, can not be attributed to symbolic logic, and seeks to find a way to preserve the basic polysemy of all reading activities. In her opinion, there is no theoretical model that illustrates the particularity of the film. Therefore, when she “borrows” the theories of Derrida, Bonfernister, or Eisenstein, they always “process” the articles according to their own unique perspectives. Leda Búsz-Más compares this approach to Barthes’ approach to “S / Z,” which treats any article as being part of the same article. Mary - Claire Ropal that all films belong to this same article.