 But mental imagery is also often used within the picture frame. In the 1950 American film Harvey, the character played by Jimmy Stewart is an alcoholic and he hallucinates a six foot three and a half inch tall rabbit (or pooka). We don’t see anyone, but the Jimmy Stewart character clearly does. And, crucially, all the scenes with the imaginary rabbit are framed as if there really were a rabbit in them. So when we see the Jimmy Stewart character in an armchair having a conversation with Harvey, this shot is framed in a way as if there really were a six foot tall creature next to him. This framing is aesthetically relevant and its choice clearly relies on the viewer’s mental imagery. In this example, we have a fairly good idea what we’re supposed to form a mental imagery of – the Jimmy Stewart character gives a fairly accurate description of Harvey’s alleged appearance. But there are examples where we are in a much less fortunate epistemic situation. One classic example is Bunuel’s Belle de Jour, where the Chinese businessman shows a little box to the Cathrine Denevue character, who is clearly fascinated by what is inside. She sees it, he sees it, but we, the viewers don’t. There is a humming voice coming from the box, but we never see what is inside. We have a very indeterminate (crossmodally triggered) visual mental imagery of what could possibly be in the box – whatever is in the box is left intentionally indeterminate. The French film director, Robert Bresson often uses mental imagery this way, so much so that he even takes this use of mental imagery to be the mark of a ‘good’ director (or, as he would put it, of a cinematographer, not merely of a director): “Don’t show all sides of the object. A margin of indefiniteness” (Bresson 1975/1977, p. 52).