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As a matter of fact one is continuously anticipating expressions, filling up the empty spaces in a text with the missing units, forecasting a lot of words that the interlocutor may have said, could have said, will certainly say, or has never said.
>>Umberto Eco, A Theory of Semiotics 1979, p. 136
After reading Tram’s post (see: A Room of One’s Own) regarding Chantal Akerman’s Jeanne Dielman (1976), I was reminded of another famous examination of domestic life, Semiotics of the Kitchen (1975) by Martha Rosler. The first time I saw this short film I was in college studying film theory and loving it. I was blown away by Rosler’s piece, not merely because it was an exploration of the very of the concepts I had been studying, but also that she found a way to make semiotics funny (in a dry humor sort of way). Semiotics of the Kitchen was considered a seminal work of the period and shown for years in college film departments and media studies classes, etc. I wonder if it is still watched much anymore.
Semiotics of the Kitchen
pilgrimakimbo 
>i found your article via google, looking for information on Rosler’s piece…and it is indeed still screened in colleges!!i am going to the school of the art institute of chicago, interested in film, video, and animation…and my history of video art class just watched it last month!!so there’s your curiousity solved!!;)
>I’m a film student at UW-Milwaukee and it is still shown in the Intro to Experimental Media track. I’m actually writing a a final paper on the piece concerning artistic intervention into the domestic spaces of 1975 v. ’08 and into the theatre spaces (video v. film). If you have any discussion on this, I’d appreciate it.
>Timothy, your topic sounds fascinating. Unfortunately, I don’t have anything to offer you other than this post. All I can say is best of luck with your final paper. I’d love to hear how it goes. Thanks for stopping by.