They took their films to audiences all around the world and brought the entire world to each audience. They were inventors, they left conema when they thought it would not make money.
Cinema of attraction:
Gunning 1990.
Early Cinema was not literary but spectacular – more in common with fairgrounds than the theatre.
Sandow (1894)
It was about showing off, performings.
The four troublesome heads (1898)
Kinetoscope – Edison
The idea that this is a domestic thing, in which we can watch films indivually but it did not take off.
Kinet0=movement
Scope= look into/examine
Cinematograph
Did not require electricity
Cinema= movement
graph= write/record
The boxing cats (1894)
The Invention of cinema:
is the ‘idea of technology’ the same now as in 1895 (Punt,2000)
Commercial imperatives
cultural tourism
user agency
Silent Hollywood:
Standardised Techniques and forms emerged:
Continuity Editing
Parallel editing – cutting between two locations but it makes sense for the story.
Close-, Mid-, Long- shots
Movie stars – eg charlie chaplin
Steamboat Bill Jr (1928)
Its hedigmonic.
Mgm, universal and were known for genres such as universal was known for horror. – Invisible style. – cinema as an escape.
Standardisation = assembly production = big business
the invisible style wasnt the only way
Un Chien Andalou (1929)
Man with a Movie Camera (1929)
Hollywood even through was dominant WASN’T the only style of cinema!
The Arrival of a Train (1934)
Remaking – creating within 3D however the concept of 3D didnt take of til around the 1950s
Digital Cinema: Evolution or Revolution?
Ganz & khatib 2006
Celluloid
One viewfinder, one eye on the image.
Time delay between shooting and viewing.
Primacy of cinematographer and camera operator
Digital
Infinitely reproducible on screens
No delay between shooting and watching
primacy of postproduction
a screen on camera- the difference between the too were very separate compared today’s camera.
A video assist changes how films are made – be able to watch it immediately – Jerry Lewis. This has implications on how cinema was made.
The physical limitations of the medium, which defined many of the practices of traditional cinema, have become more or less irrelevant.
Ganz and Khatib ; 24
MCM set of THE NEXT VOICE YOU HEAR (1950) – props, director, etc around 50 people
Ten (2002) – two people in a car using a dash board on the car.
“In the digital film the immediacy of the image becomes the aesthetic” (Ganz & Khatib: 28)
Look of reality – through shots of a film.
Laura Dern – Inland Empire(2006) – show on digital – reality compared to Blue velvet which she is looks like a movie star due to how it is shot.
Greater Convergence – does the difference matter?
35mm Celluloid – Detective Pikachu (2019)
Digital – The Irishman (2019)
audience typically can’t tell the difference.
All the tools necessary for a complete industrial film practice are arriving in places that did not have the infrastructure to support an indigenous cinema. The technology not only has the potential to revive the ossified Hollywood cinema, but also to enable storytelling from different cultures and from people who were previously unheard. The technology is therefore transforming relationships of power between different cinemas: it is not only the west that is the bearer of the gaze
(Ganz and Khatib: 34)
Nollywood – Worlds most prolific film Industry.
Iran: new ways to evade censorship – often shot in a car.
Jafar – Got banned from making film within Iraq but he still continued to make films. – well regarded internationally – got screened in france.
New Digital Cinema
Isuma– production company making films embedded in Inuit culture and society- A digital film culture specific to the company.
Atanarjuat (2001) – could only be made by the people within the community
Aesthetics determined by location – frozen camera, low sun, igloo shots etc- creates a new film language.
Is digital technology an advantage or obstacle for political filmmakers?
more documentaries than ever… but digital programming is determined by algorithms and profit.
Do algorithms, filters, and customization make digital media ultimately insular?
Accessible and adaptable technology means filmmakers can escape meddling.
Crises are captured in real time with greater ease than ever.
Xianchang – style in china – an aesthetic of immediacy and reality. observation and communication of lived experiences – even as it contrasts the state.
Forsama
digital camera is ‘always on’.
Constant remix and adaption – Not just ‘telling stories’ – but showing off, jokes, memes, shared experiences, displaying the common and the unusual. Eg. Tiktok, Instagram, etc. ‘This is a cinema that displays its visibility, willing to rupture a self-enclosed fictional world for a chance to solicit the attraction of the spectator’ (gunning 1986: 64)
Avantgard. the creators and the artists that experiment and doing thing that haven’t been done before.
Cinema of attraction:
Point of view in cinema-
How it feels to be run over (1900)
Film (1965) – Rene Magritte,Not to be Reproduced (1937) – person trying to avoid the camera.
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