Institutional Mode of Representation (IMR)

In film theory, the institutional mode of representation (IMR) is the dominant mode of film construction. This style was developed after the turn of the century and became the norm, most notably for Classical Hollywood Cinema, in about 1914. 
The IMR is characterised by the attempt to create a fictional world on screen that the audience can become completely imaginatively involved in, instead of feeling separate  This is created by using close up's, these are something that were never used in the Primitive Mode which was the used for early cinema. A three dimensional space is created as well as new cinematic techniques such as lighting and editing to preserve the illusion of spatial integrity that is lost with close ups. 
The close ups make the characters psychologically individuated therefore the audience interpret the motivations of characters and involve themselves in the films.