Page - 30 - in JRFM - Journal Religion Film Media, Volume 01/01

30 | roger Odin www.jrfm.eu 2015, 1/1, 23–30 of religion may combine with rejection of the commercial communication space to which the film alludes. In short, it seems to me that the communication strategy of this film stands little chance of achieving its aims. CONClUsiON As you can see, analysing a film from the point of view of communication requires us to take into account the mental communication spaces at work in the context in which communication plays out. so it is up to the analyst to construct them, on the basis both of the clues the film provides as to the space in which it is supposed to op- erate, and of what can be known about the spaces in which it will have to circulate. it is then possible to form hypotheses, which will need to be confirmed (or invalidated) by field studies. BiBliOGraPhy Casetti, francesco/sampietro, sara, 2012, With eyes, With hands. The relocation of Cinema into the iPhone, in: snickars, Pelle/Vonderau, Patrick (eds.), Moving Data. The iPhone and the future of Media, New york: Columbia University Press, 19–32. laureau, rené, 1970, l’analyse institutionelle, Paris: editions de Minuit. Odin, roger, 2011, les espaces de communication. introduction à la sémio-pragmatique, Grenoble: PUG. Odin, roger, 2015, espaces de communication physiques, espaces de communication mentaux, in: Chateau- vert, Jean/Delavaud, Gilles (eds.), D’un écran à l’autre. les mutations du spectateur, Collection Médias en actes, Paris: l’harmattan (in print). filMOGraPhy Catholics Come Home (Commercial, Us 2008–2013). Have a Great Break (Commercial, Us 2005). Kung Fu Pepsi Crush (Commercial, fr 2002–2003). La dernière séance (Gérard Jourd’hui, fr 1982–1998).