The book begins with the image by exploring the photograph, which is an observational relationship that also contains the idea of time and audibility. To enter into cinematic unseeing, we go into the logos of a film. With reverie and audibility as the backdrop, this chapter critiques major aspects of film representation and semiology, which create an analytical distance for the sake of discourse. Common film theory terms are challenged: diegesis, synchresis, objective/subjective dualities, textual "readings' of film. All appeal to identity, spatial materialism, and analysis and distance, which are antithetical to the concept of unseeing in Malick's cinema. When unseeing engages a logos relation, audibility is liberated from such constraints, seeking out new relations independent of space.