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While this and the other Workman montages ultimately elude any causally or
narratively-based rhetorical analysis as persuasive marketing devices, their very anti-
causality within a broadly thematic framework is of interest in terms of what is and isn’t
valorized by these montages as constituting “the movies.” The montage’s argument could
be summed up as: “Movies: there’s old ones, new ones, lots of kinds, lots of emotions,
there are heroes and the women they fight for, and most of all, there’s love and light.”
Again, the overarching rhetoric, mentioned by Malden himself,...
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