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He was another French film pioneer who made over a thousand films, the most memorable ones being Le Voyage dans la Lune (A Trip to the Moon, 1902). His views on film making was not to mimic ‘real-life’ but to explore other possibilities, using the camera to subvert what the camera sees into abstractness or creating illusions. He discovered the dissolve effect by chance when his equipment jammed. He explored the ‘magical’ possibilities of the camera and other techniques such as split screen techniques and stop motion photography. He was a pioneer in cinematic special effects and also a film maker who inspired the likes of Jan Svankmajer, Terry Gilliam, etc.

Films made during this period were only a couple of minutes long and over the years up until the present films have got longer, in the nineties being an hour and a half but now the average running time is at least two hours, which I definitely support the idea of, since we at least as the audience will be getting our moneys worth. This is not to say that quantity is more essential than quality but I would like to argue the fact that film producers and directors are adding extra running time to enhance the narrative, by adding sub plots or developing characters to improve the story or explain situations or events clearly and not to extend the running time so the spectacle can be the main attraction, even though Hollywood has a tendency to refer to its films as motion pictures rather than film. This can be a signal that Hollywood is faithful to the spectacle of the moving image.

A new cinema of attractions has risen, particularly within action genres, where plot and story are of less importance than the spectacle.

This can be true since the action genre relies on the spectacle to deliver the film. The action genre is an area where the narrative is simply a platform for spectacle where the audience can sit back, relax and enjoy the film visually, instead of participating in the story and working out clues and problem solving the story. It is more or less the dominant element, meaning in days to come we will remember the ‘spectacle’ but might fail to remember what actually happened. Furthermore I think films in theory have to have at least a sequence where the narrative is disrupted and spectacle takes over, such as a car chase or a well choreographed fight scene. In theory the ‘cinema of attractions’ still exist to this day with the huge cinema screens with surround sounds and films still offering the spectacle as the attraction.

In Russia during the Soviet Union (1920’s) spectacle was still the attraction but besides that, editing of films was also used to draw the audiences attention. Editing created powerful effects on the spectators. One particular example I would like to mention is the famous Odessa steps sequence from Sergei Eisenstein’s, Battleship Potemkin (USSR, 1925). This well known sequence is where the army restores order among the sailors and civilians of Odessa. He used a ‘montage’ type of editing to create a pulsating attraction after attraction to intensify the feeling and effect. The point I am trying to make here is that spectacle can be a potent technique in storytelling without the strong element of nar本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。