Now you see it, now you don’t: The temporality of the cinema of attractions

Introduction to "Now You See It, Now You Don’t: The Temporality of the Cinema of Attractions"

Cinema, since its inception, has been a medium of both spectacle and storytelling, a temporal art form that shapes and defines how we experience and perceive time. In "Now You See It, Now You Don’t: The Temporality of the Cinema of Attractions," I delve deep into one of cinema’s most fascinating early paradigms—the "cinema of attractions"—and explore its temporality, its transition into narrative-driven cinema, and its lasting legacy in contemporary media. Through historical analysis and theoretical insights, this book examines how the cinema of attractions redefined visual experience and established itself as cinema's foundational temporal mode. The work aims to open up new avenues for understanding cinema's temporal complexity and its cultural impact.

Detailed Summary of the Book

The cinema of attractions, a term I introduced in earlier work, refers to the early era of cinema, from roughly 1895 to 1907, where the primary function of films was to present spectacles to their audiences. These films were less concerned with narrative continuity and more with moments of astonishment that demanded direct engagement. In this book, I expand on the idea of "attractions" by focusing on their temporal characteristics, asking: What kind of time do attractions create? How does this form of time affect the spectator's experience?

Divided into several chapters, the book begins with an exploration of early cinema's structure and strategies, emphasizing its rupture from traditional narrative forms. Rather than guiding viewers through a cohesive story, the cinema of attractions displayed an episodic time, where visual moments dominated. This chapter uncovers the ephemeral and fleeting nature of early cinematic experiences, often defined by their rhythm and repetition.

Subsequent sections trace the gradual evolution from attractions to narrative cinema, where time became linear and continuity methods, like editing, were introduced. I analyze the consequences of this shift for spectatorship and aesthetic pleasure, as narrative coherence began to reshape how time was presented and perceived in film.

Finally, the book connects these historical developments with modern-day media. Think of action blockbusters, theme park rides, or devices that rely on digital screen technology—remnants of the cinema of attractions persist in contemporary modes of entertainment, signaling that the temporal dynamics I investigate are still relevant today.

Key Takeaways

• The "cinema of attractions" emphasizes visual spectacle over narrative structure, presenting a unique temporal relationship with its audience.
• Cinema, even in its earliest form, was inherently shaped by technological and cultural shifts that influenced its temporality.
• The shift from attractions to narrative cinema reflects larger cultural transitions, including changing notions of time, progress, and modernity.
• The remnants of attractions cinema persist in contemporary media, reminding us of the enduring power of spectacle and immediacy.
• Understanding the temporality of cinema sheds light on how film functions as a medium that shapes human perception of time and space.

Famous Quotes from the Book

Why This Book Matters

The study of the cinema of attractions, particularly through the lens of temporality, has profound implications for how we understand cinema as a medium. By revisiting early cinema, this book challenges conventional narratives about the history of film and emphasizes its roots in visual spectacle rather than storytelling. Furthermore, the book bridges the gap between historical analysis and contemporary practices, showing how cinema continues to evolve while retaining aspects of its origins.

For film scholars, media theorists, and anyone interested in the cultural history of visual art, "Now You See It, Now You Don’t" offers a fresh perspective on how cinema operates through and with time. It reminds us that the ways we experience motion pictures today are not ahistorical but are deeply rooted in the experiments and innovations of early filmmakers. By grappling with these ideas, we can better appreciate not only the history of cinema but also its ongoing influence in an age dominated by screens and spectacle.