  There is, however, an even deeper problem in regard to film narration over what has been called the “Imagined Seeing Thesis” (Wilson 1997).  According to this Thesis, viewers of mainstream fiction films imagine themselves to be looking into the world of the story and seeing segments of the narrative action from a series of definite visual perspectives.  In its traditional version, viewers are taken to imagine the movie screen as a kind of window that allows them to watch the unfolding of the story on the “other side.” However, it is hard for this view to account for what is being imagined when, for example, the camera moves, or there is an edit to a shot that incorporates a different perspective on a scene, etc.  As a result, an alternative view has been suggested, namely that viewers imagine themselves to be seeing motion picture images that have been photographically derived, in some indeterminate way, from within the fictional world itself.  But this position runs into problems, since it is normally part of the film's fiction that no camera was present in the fictional space of the narrative.  The resulting debate is over whether to reject as incoherent the Imagined Seeing Thesis or whether it is possible to develop an acceptable version of this Thesis. Philosophers remain sharply divided on this fundamental issue.