Jeremy Bowtell started his presentation by describing ‘The Edit’ as a synthesis of fixing and breaking and the symbiosis of juxtaposition and closure. Closure – a term introduced by Scott McCloud’s Blood in the Gutter comic – is an act of faith that uses fragmental perceptions of reality to conclude a ‘whole’ mental image of a situation*. This theory is developed through the media’s use of visual stimuli that communicates with individuals based on each person’s perceived past experiences. Edward Dymytryk, a 1940’s director of noir films, quotes that when undecided about the exact frame to cut on “never make a cut without a positive reading”. Similarly, McCloud exemplifies that the brain, when exposed with fragmented stimuli such as a comics, which fractures time and space, connects ‘cuts’ and mentally constructs a plausible, unified reality. As human imagination takes two seperate images and transforms them into a single idea when exposed with such ‘gutters’, one can analyse individuals and even societal mediums as collective assumptions are products of environmental and thus, media experience. Therefore, an individual’s ability to use past experiences to complete the incomplete, exemplifies cultural appropriation and identity. As tendentious selection is caused by the audiences desired direction, media has the power to control culture by creating stimuli that individuals will eventually derive as past experience when they create contextual closure.
* This ad is an example of how culture was appropriated with closure to create humour. 
Utopolis, Group of cinemas: Titanic
Advertising Agency: Duval Guillaume, Antwerp, Belgium
Creative Directors: Geoffrey Hantson, Dirk Domen
Copywriter: Sam De Vriendt
Art Director: Bart Gielen
Account Team: Matthieu De Winter, Jonathan Moerkens
Photographer: Kris Van Beek
Contact client: Tanja Piessens
http://adsoftheworld.com/media/print/utopolis_group_of_cinemas_titanic