Chapter 2 Analysis:

The chapter begins by giving out steps on how to watch a movie:

"Step One: Evolve an optic nerve that “refreshes” at a rate of about 13 to 30 hertz in a normal active state.That’s 13 to 30 cycles per second. Fortunately, that bit has already been taken care of over the past several million years. You have one of them in your head right now.

Step Two: Project a series of still images captured in sequence at a rate at least twice that of your optic nerve’s ability to respond. Let’s say 24 images, or frames, per second.

Step Three: Don’t talk during the movie. That’s super annoying"

The chapter discusses cinematic language and the art of observing a film while paying attention to the angles of the shots. Terms such as: Close-Ups, Low and High Angle shots, and medium and long shots. Movie directors use these techniques with the  goal of evoking specific emotional responses from the viewers. After delving into these insights, one gains a deeper appreciation for the intricacies of filmmaking.

Furthermore, the chapter speaks of:  "Explicit and Implicit Meaning": What this section discusses is the direct expressed meaning of a film that a director wants the audience to understand and the deeper essential meaning that the film radiates to the audiences. Another word for this would be THEME. All this can help make a film resonate with an audience in order to be successful and have influence in the film industry. 

Thirdly, the chapter speaks of  Form, Content and The Power of Cinema: the passage explores the relationship between form and content in cinema, highlighting the significance of both aspects in effective storytelling. It underscores cinema's role as a cultural document, reflecting societal norms and values. The author observes that cinematic content is shaped by the historical and cultural context of its creators, leading to a cultural feedback loop where cinema both influences and is influenced by its surroundings. 

Finally, the final section of this chapter is "Everyone is A Critic":  What this section emphasizes, is that personal liking or disliking of a movie should not affect one's ability to objectively analyze its filmmaking techniques. The author uses "Citizen Kane" as an example of a film they may not personally like but can still appreciate for its technical excellence. Furthermore, they mention that people can enjoy movies that might have flaws in various aspects.