The feature narrative is diametrically opposed to the
short narrative.  The feature was the original SLZ
narrative and it must be understood as the opiate of
this idea.

The feature relies much more heavily on references to the
body of film as well as some influential directors and
filmmakers.  It uses a process called hypertextuality,
which is basically using things you know well to
explain things that you do not know that well.  Now I
realize that this statement is a wee bit ambiguous... so
let me clarify.  When a scene or a sequence is scored
with a popular or influential song, the meaning of the
scene is communicated personally and individually to each
person via their familiarity and personal experience
with the song that the scene is being scored against.

This process is most unconscious for viewers and a number
of filmmakers; while the filmmaker may have a very clear
and precise reason for wanting to use a particular song,
rarely is that filmmaker thinking of the cultural and
sociological implications of that song.  Sound is an
extremely virile sense; a few bars of a song can make you
laugh or take you back decades.  All of that information
that comes to you is not filtered and placed in
hierarchical order, instead it is a mix of emotions and
depending on your personal experience... one emotion may
crowd out the others.  But this residual effect of
emotional interaction permeates quite deep.  I believe
that it is the role of the contemporary independent
filmmaker to do more than just score a cool looking
scene.

Much of this will be initially lost on the viewing
audience... because although they are quite adept at
understanding it when it occurs, its use tends to be
rather sporadic in “Hollywood” film... so they are never
sure what it means.  SLZ uses these devices from
beginning to end, in an effort to create meaning on
several levels at the same time.