tailieunhanh - THE CINEMA OF ATTRACTION: EARLY FILM, ITS SPECTATOR AND THE AVANT-GARDE

These names, as is the mark of auteurship, stand for something more than the films they have signed (The Marriage of Maria Braun, Lili Marleen, Aguirre, Kaspar Hauser, Kings of the Road, The American Friend, Hitler-A Film from Germany, The Patriot, The Tin Drum, The German Sisters, Heimat, Germany Pale Mother). | The Cinema of Attraction Early Film Its Spectator and the Avant-Garde The Gay Shoe Clerk 1903 Notice This material may be protected by copyright law Title 17 . Codgj By Tom Gunning Writing in 1922 flushed with the excitement of seeing Abel Gance s La Roue Fernand Léger tried to define something of the radical possibilities of the cinema. The potential of the new art did not lay in imitating the movements of nature or in the mistaken path of its resemblance to theater. Its unique power was a matter of making images seen. It is precisely this harnessing of visibility . ------------- this act of showing and exhibition which I feel cinema before 1906 displays most intensely. Its inspiration for the avant-garde of the early decades of this century needs to be re-explored. Writings by the early modernists Futurists Dadaists and Surrealists on the cinema follow a pattern similar to Léger enthusiasm for this new medium and its possibilities and disappointment at the way it has already developed its enslavement to traditional art forms particularly theater and literature. This .- ị fascination with the potential of a medium and the accompanying fantasy of rescuing the cinema from its enslavement to alien and passe forms can be understood from a number of viewpoints. I want to use it to illuminate a topic I have approached before from another angle the strangely heterogeneous relation that film before 1906 or so bears to the films that follow and the way a taking account of this heterogeneity signals a new conception of film history and film form My work in this area has been pursued in collaboration with Andrế The history of early cinema like the history of cinema generally has been written and theorized under the hegemony of narrativei films. Early filmmakers like Smith Mễliès and Porter have been studied primarily from the viewpoint of their contribution to film as a storytelling medium particularly the evolution of narrative editing. Although such .

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