The pretext in Opposing Views is the polarized design of Cold War rhetoric and the formal pun on ideological conflict drawn through the narrative convention of shot-countershot. This initial insight is amplified by a variety of tacky spectator and sports-action shots arranged in the same editing figure, creating a syntactical as well as an iconographic framework for competition. This is close to the analytical territory honed by English structural filmmakers Peter Gidal and Malcolm LeGrice, but in contrast to their didactic rigor, Leeser's focus on history and cinematic language is constantly buoyed by playful, associative linkages predicated on shape or movement. [Source: Paul Arthur, Line Of Sight: American Avant-Garde Film Since 1965, 2005]