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The main essay in Preface to Film, "Film and Dramatic Tradition' shows Williams' most insight into the development of the concept of structure of feeling. Roughly surveyed, the idea of it used as a deliberate challenge and alternative to the existing explanatory framework of Marxist literary and cultural analysis. New Left Review team criticize it; it seems to refer to a generation, and yet at time to have a longer lifespan than any single generation, it seems far too unitary in its expression of social consciousness with its casual reference across classes. Williams thinks the dramatic conventions of any given period are fundamentally related to the structure of feeling in that period, and it is only realizable through experience of the work of art itself, as a whole. He uses this term because it seems more accurate than idea or general life. If we examine the actual emergence of the term, we soon know that it is best understood as Williams's most significant attempt to preserve and yet to go beyond the Marxist argument concerning literary and cultural reproduction which had been so thoroughly criticised within the literary criticism of Cambridge English. The means of this supersession is to be the idea of 'structure of feeling'. Its task is then twofold: first, to explain the nature of major shifts in dramatic convention, but second, to explain these shifts without recourse to the clumsy Marxist metaphor of 'base and superstructure.' The analysis and interpretation of dramatic form make us to see through to the fundamental convention with we classify as society itself, what Williams refers to as 'a structure of feeling in a precise comtemporary world.