The Cinema of Attractions Reloaded
Twenty years ago, noted film scholars Tom Gunning and André Gaudreault introduced the phrase “cinema of attractions” to describe the essential qualities of films made in the medium’s earliest days, those produced between 1895 and 1906. Now, The Cinema of Attractions Reloaded critically examines the term and its subsequent wide-ranging use in film studies.
The collection opens with a history of the term, tracing the collaboration between Gaudreault and Gunning, the genesis of the term in their attempts to explain the spectacular effects of motion that lay at the heart of early cinema, and the pair’s debts to Sergei Eisenstein and others. This reconstruction is followed by a look at applications of the term to more recent film productions, from the works of the Wachowski brothers to virtual reality and video games.
With essays by an impressive collection of international film scholars—and featuring contributions by Gunning and Gaudreault as well—The Cinema of Attractions Reloaded will be necessary reading for all scholars of early film and its continuing influence.
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Audiences and Attractions
How They Came into the World
A Rational Reconstruction of The Cinema of Attractions
The Cinema of Attractions as Dispositif
Spectacle Attractions and Visual Pleasure
From Primitive Cinema to KineAttractography
From Primitive Cinema to Marvelous
AvantGarde Exhibition Practice in the 1920s
The Associational Attractions of the Musical
Relationship of Actor and Filmed Subject
New Laws of Attraction
Between Still and Moving Images
Cutting to the Quick Techne Physis and Poiesis and the Attractions
Gag Spectacle and Narrative in Slapstick Comedy
Early Cinema as a Challenge to Film History
Obsessions with the Vision Machine
Dance as Attraction in Early Film Culture
The Lecturer and the Attraction
Style and Spectatorship in Transitional Cinema
The Rube Film between Attractions
Attraction Practices through History
Lumière the Train and the AvantGarde
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