By Wanda Strauven
ISBN-10: 9053569456
ISBN-13: 9789053569450
What have Lumière in universal with Wachowski? multiple hundred years separate those pairs of brothers who astonished, particularly equally, the movie spectator in their respective time with lighting tricks of circulate: a educate speeding into the viewers and a bullet flying in sluggish movement. Do they belong to a similar relatives of “cinema of attractions”?
Twenty years in the past Tom Gunning brought the word “cinema of sights” to outline the essence of the earliest motion pictures made among 1895 and 1906. His time period scored a right away good fortune, even open air the sector of early cinema. the current anthology questions the popularity and usability of the time period for either pre-classical and post-classical cinema.
With contributions via the main favorite students of this self-discipline (such as Tom Gunning, André Gaudreault, Thomas Elsaesser, Charles Musser, Scott Bukatman and Vivian Sobchack) this quantity bargains a kaleidoscopic evaluate of a big historiographical debate.
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Extra info for The Cinema of Attractions Reloaded (Amsterdam University Press - Film Culture in Transition)
Example text
Can early cinema (Lumière and Méliès), the avant-gardes (French Impressionism, German Expressionism, Soviet montage, Surrealism, the American avant-garde), as well as vaudeville, circuses and fairgrounds, and contemporary Hollywood blockbusters, really be discussed under the same concept? Is the concept of attraction not being stretched too far? This problematic raises two issues: () The uneasy relation between pre-classical and post-classical narrative cinema; () The thorny cultural generalization that early cinema and the avant-garde “expressed” the visual experience of modernity.
Roger Holman (Bruxelles: FIAF, ) -. Gunning, “The Non-Continuous Style” . 54 . . . . . . . . . . The Cinema of Attractions Reloaded These seven characteristics are: a) the actor’s engagement with the audience; b) ellipsis in the two-shot film; c) repeated action edits; d) the anthology format; e) abrupt transitions from documentary to staged shots; f) tableaux format; g) the introductory shot. Gunning, “The Non-Continuous Style” -. ” André Gaudreault, “Temporality and Narrativity in Early Cinema (-),” Cinema -: An Analytical Study .
Disagreements undoubtedly will continue about how to resolve these discussions, but I think the concept of attractions continues to serve us well in keeping these discussions going. Notes . ,” Histoire du cinéma. Nouvelles approches, ed. Jacques Aumont, André Gaudreault and Michel Marie (Paris: Sorbonne, ) -. . Tom Gunning, “The Cinema of Attractions: Early Film, Its Spectator and the AvantGarde,” Early Cinema: Space Frame Narrative, ed. Thomas Elsaesser (London: British Film Institute, ) -.
The Cinema of Attractions Reloaded (Amsterdam University Press - Film Culture in Transition) by Wanda Strauven
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