Tom Gunning's Theory Of The Cinema Of Attractions

During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that,

This paper was prepared for Introduction to Film History, Module 1 Homework Assignment, taught by Professor Stephanie Sandifer.

In “A Century of Cinema”, Susan Sontag explains how cinema was cherished by those who enjoyed what cinema offered. Cinema was unlike anything else, it was entertainment that had the audience feeling apart of the film. However, as the years went by, the special feeling regarding cinema went away as those who admired cinema wanted to help expand the experience.

David Bordwell wrote his article ‘The Art Cinema as a Mode of Film’ in an effort to convey the main idea that “art cinema” can be considered as a distinct mode of film practice, through its definite historical existence alongside other cinematic modes, set of formal conventions, and implicit viewing procedures. Rather than searching for the source of the art, or what drives the art in film, Bordwell compares art cinema to the classical narrative cinema, and highlights the differences in narrative structure. Bordwell makes the assumption that it defined itself against the classical narrative mode; especially with the way it deals with space, time, and the cause and effect link of events.

Mulvey, Laura. Visual Pleasure and Narrative Cinema (1975) - Laura Mulvey. Thesis. N.d. N.p.: Laura Mulvey, 1975. Visual Pleasure and Narrative Cinema (1975) - Laura Mulvey. NG Communications, 2006. Web. 20 Feb. 2014. .

Although the best reasons for “going to the movies” are to be entertained and eat popcorn, understanding a film is actually quite complex. Movies are not only a reflection of life, they also have the capability of shaping our norms, values, attitudes, and perception of life. Through the media of film, one can find stories of practically anything imaginable and some things unimaginable. Movie-makers use their art to entertain, to promote political agendas, to educate, and to present life as it is, was, or could be. They can present truth, truth as they interpret it, or simply ignore truth altogether. A movie can be a work of fiction, non-fiction, or anything in-between. A film is an artist’s interpretation. What one takes away from a film depends upon how one interprets what has been seen and heard. Understanding film is indeed difficult.

Hollywood cinema is primarily subjected to telling stories. The inclination of Hollywood narratives comes not just from good chronicles but from good story telling. The following essay will discuss Hollywood’s commercial aesthetic as applied to storytelling, expand on the characteristics of the “principles of classical film narration” and evaluate alternative modes of narration and other deviations from the classical mode.

Being one of the world’s most popular art forms, it was inevitable that these archetypes would find their way into film as well. In this essay I will argue that the

So, now the question of how they could entertain without offending anyone come into play. Films from this period have been named the "Cinema of attractions" by film scholar Tom Gunning, in part, because they treat show over narrative. The popularity of film in its first decade was for some, a cause for concern. It faced challenges to produce longer pictures, which not only would advance their profitability, but also needed to be narrative, which in turn allowed films to carry ethical and good messages.

Cinema after 1906, according to Gunning, pushed towards the structure of linear narrative, and away from the immediacy of the "spectacular image" (Strauven, 1999: 387).

The invention of the cinema began in the 1890’s in America through the exploration of “persistence of vision.” This is the technique in which the human eye can begins to see the illusion of movement when twenty-four picture frames are rapidly fired one after the other. “... later research demonstrated,

Theorist Vsevolod Pudovkin claims that narrative films are mainly a “product of construction” and cautious compilations of “selections of images that have been shot” (Renée).

‘There are…two kinds of film makers: one invents an imaginary reality; the other confronts an existing reality and attempts to understand it, criticise it…and finally, translate it into film’

This essay will analyse and discuss The Great Train Robbery (1903) in relation to the narrative structure of silent cinema. The Edison Manufacturing Co, with the estimated budget of $150, produced The Great Train Robbery. Directed by Edwin S. Porter the film has a runtime of 11 minutes, with an aspect ratio of 1:33:1. The film was printed on 35mm hand coloured film and ran at 18 (FPS). The film was later released on December 1st 1903; the majority of the film was shot in New Jersey, USA.

In all forms of art there is a natural inclination to explore and experiment within the medium. The resulting methods and formats can be seen as alternatives and additions to existing ones. I do not believe that, in terms of technical decisions, there is a superior style of film making that the industry progresses to on a set path. I agree with Arnheim’s statement that “there is no objection to the complete film as an alternative to the stage” if it exists with the other types of films (Arhheim, 186). In some cases advances in method and technique are used to fix the problems of technological limitations. In other cases these advances provide alternatives. The introduction of color is described by the latter. Color was introduced as an alternative to black and white movies but never completely replaced them and didn’t stop the use of black and white as an effective technique in modern cinema.