Love's Refrain and Sunlight

Based on Frampton's formula for what a film is about, I decided that Love's Refrain was about sunlight. Origionally I was going to say that it was about shadow, but I realized that sunlight is more accurate because all of the shots (except maybe a few) were outdoors, and sunlight is what is creating shadows. I don't think the fact that sunlight was the most prevalant object in the film helps me me much to understand what the film was about. It may be a part of what the film was about in that it establishes a happy, warm feeling for most of the film or gives a sense of contrast between the light and shadow. Maybe this contrast represents the title of the film by suggesting that love's refrain is a constant cycle through times of light and happiness and darker, gloomier trials. However, I think the meaning of a film such as this can't be realized through such purely quantitative method as Frampton's. You could make an arguement that a film must be about whatever appears the most based on your definition of what "about" means. I think that the meaning of a film, though, can be found in a key second or two of a film. For example, if a film is about an idea or has a moral, these can't be physically shown on screen. The characters can be shown learning the moral or experiencing the idea, but according to Frampton, the film would then be about the character, not the idea/moral of the story. Frampton's definition keeps films from being about broad universal truths, because the limitations of what the camera can capture on film focuses the truth onto one or a few characters and their actions as they experience the truth. Rather than being what the film is ultimately about, these characters are simply the mode through which the idea is communicated. The whir of the projecter could be considered the most prominant aspect of Frampton's lecture, but that doesn't mean that every film shown via projector is about the projector. Just as every film is not about film, every sculpture is not about clay, every painting is not about paint, and every poem is not about ink and paper.