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Still, the cinema of attractions is a way of the audience identification and the reflection of the needs of the society of nineteenth and early twentieth century. In case the cinema was able to show something, it was considered to be a good cinema. The early cinema is of the exhibitionist nature. The audience is targeted by the specific images they want to see. Gunning claims that it was very important the way camera interacted with the eyes of an actor. In such a way, the audience had a chance to feel an interaction with heroes on the screen. Both of them were watchers (Diiorio, 2003). The attention of a spectator was very important for the directors of early cinema. This aspect was specially supervised. That is why they were really concerned about visual contact between the viewers and the actors. Only images, which were shown to the audience, were important for them. We can illustrate this claim by the film directed by Edwin Porter “The Great Train Robbery” in 1903. In this film the bandit looks at the audience and makes a shot. The viewers are able to see the smoke of the gun. This scene happens in the beginning of the film and the audience catches its breath in a foretaste of further events or images. This move is referred by Gunning as exhibitionist move showing the views what will happen next. Gunning claims that: “the cinema of attractions does not disappear with the dominance of narrative, but rather goes underground, both into certain avant-garde practices and as a component of narrative films, more evident in some genres than in others”. If not images are practiced as the tools to exert influence on the audience, then music is often used by the directors of the later films. (after 1906). In the film directed by Victor Fleming “The Wizard of Oz” (1939), the events are surrounded by music (Faden, 2001). We can see the way the main characters show their inner states. This technique is used by the directors in order to make them understand further development of events. Therefore, the narrative is supported by music and there is a lack of exhibitionist strategy in it. Viewers obtain help from the directors in order to perceive what is going on the screen correctly. Thus, attractions in the early films were used as tools to grasp attention of the audience and in later films director’s techniques were used to understand moods of the cinema’s characters (Brewster & Jacobs, 1997). According to Gunning, “This is not to say that narrative films are entirely separate to the world of the cinema of attraction. On the contrary, narratives will often incorporate this form of cinema into their development. However, since this method of cinema does tend to disrupt the realistic illusion created by the audience’s lack of self-awareness, incorporating it usually has a result of slowing down the progression of the narrative” (Gunning, 2000). Therefore, the cinema of attractions comprises films before 1906 and avant-garde films, but nowadays many directors use these techniques as well. Modern Hollywood films are also based on the techniques of attraction, when the audience can see the face of the main character clearly and feel with him or understand him better. The exhibitionist nature of the cinema of attractions was mainly used for creation of a special atmosphere on the screen. There are special concepts of attraction in
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This was rooted not only to create an artistic style that was a part of expression. More important, there was a link to developing a specific voice about the politics and culture of Soviet Russia, while creating a sense of realism in the films. When comparing the work of “Battleship Potemkin” by Esienstein and “Man with the Camera” by Vertov, it can be seen that there are more similarities than differences.
However, during this time, it had not gained much prominence in the country and only few actors participated in it. Early experiments in German cinema by people like Ottomar Anschutz, John Isaacs, and Eadweard Mybridge sparked an early and great interest in the cinema potential in Germany. Invention of Bioscope, a double projector system, by Max Skladanowsky and his public presentation of pictures in Berlin Wintergarten in November 1, 1895 showed how great the potential of cinema was in Germany (Cook 207).
Technically, it has gained major notice for its visual mastery and it has pushed the limits of digital developments as it has also prompted other film-makers to make the transition to the rich digital format. The digital genre however has not been widely accepted, especially among filmmakers who value the more subtle and more cerebral narrative construction in film.
As almost all of the directors active in Imperialist Russia fled during the Revolution, 3 this lead to the eventual emergence of a distinct practice, removed from the previous national traditions. This is a compressed era, starting with the 1918 release of the anti-czarist campaign films The Past Will Not Return and Nicolas II to the declarations at the 1935 All-Union Creative Conference on Cinematographical Affairs and the triumph of sound pictures in the Socialist Realistic style.4 Although it took a number of years for the situation to stabilise sufficiently for the industry to truly begin again, when it did the mediocre live-action works previously submitted would be replaced by far mo
"Attractions, therefore, are the most important component in the tourism system. They are the main motivators for tourist trips and are the core of the tourism product" (Swarbrook 2002,p.1). Attractions, therefore are the sine qua non factors for any tourism industry.
Early films embrace the spectacle of clothing and dress which was shown between the period of the vaudeville and cinema. Cinema is a form of mass media in which certain values, attitudes, and fashion trends are promoted. It likewise accentuates a concept of beauty which pervades among the protagonists and lead actors, in which a certain distinct standard of beauty is emphasized with the audiences' acceptance, a fact in which dressing and fashion are a part.
I have chosen two hit movies, one released in 1896 and 1904. They were respectively entitled as The Kiss and Voyage à travers limpossible, Le. The Kiss was a romantic film whereas Voyage à travers limpossible, Le was a film essentially based on adventurous
Although practically all films in production these days are made within the Institutional Mode of Representation, it is not the only possible mode of representation. Other possibilities include the Primitive Mode of Representation, which was dominant. PMR was introduced by Noel Burch as he tried to redefine the various of film styles.
Ranade (2006, p. 12) notes that films with music have attained high sales. Music lies at the heart of renowned Indian films. Needless to say, India has the highest film output per year.
Music in films plays a vital role. Presence of music makes Bollywood
In order to ensure a deeper understanding of the importance of Paris, other factors such as the history of the French New Wave, two films and the directors of the films will also be considered.
Paris played a great role in shaping the
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