Analysis Of Edward Ross's Cinema Of Attractions

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From Eadweard Maybridge and Louis Le Prince’s brilliant idea of finding ways to string together series of still photographs creating an impression of time passing, to Dziga Vertov’s masterpiece in Man with a Movie Camera where he felt as though the movie camera had the capacity not just to record reality but to reveal an unseen world to the audience; Cinema and the way we see it has become breathtaking and unbelievable to say the least. In Edward Ross’s Filmish, he talks about how much cinema has captivated audiences. A few things I found important and interesting that he talked about was what Tom Gunning calls the Cinema of Attractions, how George Méliès “tricked” the eye with his illusory style, and lastly, how camera angles and…show more content…
It takes the audience out of the narrative side of the film or the plot and gives them something else we might not expect. Overall, Buster Keaton’s Sherlock Jr. definitely has that balance of narrative and spectacle because at the end of the day, there is a story to be told but Keaton’s performance and many other of his comedic tendencies make for a really well done film and I would most certainly put it in the same category as an attraction for Cinema.

Now, a guy by the name of George Méliès felt as though the camera had the ability not to just point and shoot. He believed that the camera had the potential to trick the eye and he did just that. Méliès started out as an magician and was the first to discover the illusory potential of film (Ross 14). In Martin Scorsese’s Hugo, I think they recreated what Méliès was known for extremely well. The most relevant scene to come to mind is towards the end where they recreated Méliès various movies. It’s amazing to see the lovely sets that was used in his work, props, costumes, effects, etc. His film, A Trip to the Moon was the redefining moment in cinema, showing not only what we thought was impossible as viewers but what could initially become possible. This would most certainly open up doors for many filmmakers to not just be documenters of reality but creators of worlds. Lastly, Edward Ross says that camera angles and perspectives film-makers provide us

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