The cinematic image has two primary values: as presentation, or as a true record of the world, and as representation, an interpretation or suggested meaning of that record. Two traditions of compositional practice for the film image are presence, in which the audience identifies emotionally with the image, and textuality, in which the audience identifies intellectually with the image. The phenomenological image and the psychological image are variations on the tradition of presence. The aesthetic image and the semiotic image are variations on the tradition of textuality.