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Thomas and Hampton Island, which are treated as tourist destinations, underlines the verisimilitude to our own “lifeworld” (Ong 1982, 42). To create any kind of abstraction in setting, either symbolic or fantastic, requires analytical categories that are inaccessible to primary oral cultures. Likewise, in vernacular cinema, for an audience to engage with crude polarizations and stereotypical characters, the films must be set in a world to which they can immediately relate. During the opening credits of Weekend at Bernie’s, which sets the scene during a recordbreaking heat wave, a mugger attempts to “stick up” Rich and Larry on their way to the office. Larry pushes the gun to one side and says to the mugger, “Aw, get your ass outta here, it’s too hot! The scenario is a completely fantastic response to an all-too-real situation: being mugged in New York City. The conflicts between these two camps (and the camps do shift within the diegesis) are the kinds of abstractions with which vernacular cinema, like primary orality, can operate. These oppositions encapsulate vernacular ideas that are demonstrated to the audience. These dichotomies encapsulate debates within the diegesis contextualized, the “lifeworld” of the intended audience, and are presented without the mediation of literary analysis. I have tried so far to demonstrate the similarities between Ong’s primary orality and what I have been calling “vernacular cinema,” but is this comparison fair. Put differently, even though the two media have similar psychodynamics, they are describing very different phenomena. We experience cinema, whether elite “art cinema” or vernacular cinema, through time. As I noted, although we can purchase a videocassette and fast-forward or rewind to specific sections (made all the more immediate through DVD technology), to experience a film requires an ordered sequence of narrative processes. Skipping ahead or going back to what one may have missed, although possible, is not part of general filmgoing. In other words, cinema is a largely homeostatic phenomenon. It is always experienced in the present, and references to the past are not referred to or demanded unless they have direct relevance to the present, just like primary orality, according to Ong (1982). In particular, the classical Hollywood mode of filmmaking, whereby narratives are situated within contexts that demonstrate a high degree of verisimilitude to the experiential “lifeworld” (49), with the direct intention of the audience’s empathic participation in the diegesis, further underlines the similarities between primary orality and vernacular cinema.

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