The aesthetics of astonishment and contemplation in the early British scenic film.
The field of early cinema has been strongly influenced by Tom Gunning and André Gaudreault's 'cinema of attractions' model, where films produced before approximately 1906 were valued primarily because of their ability to put a view on display rather than as a vehicle for storytelling. This model of...
| Publicado en: | Early Popular Visual Culture Vol. 14; no. 3; pp. 251 - 267 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Aug2016
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=117839329&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 117839329 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 17460654 15UY jtl: Early Popular Visual Culture issn: 17460654 maglogo: N pubinfo: dt: Aug2016 vid: 14 iid: 3 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 117839329 10.1080/17460654.2016.1183362 ppf: 251 ppct: 16 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1.3MB tig: atl: The aesthetics of astonishment and contemplation in the early British scenic film. aug: au: Wilson, Samantha affil: Mel Hoppenheim School of Cinema, Concordia University, Montreal, Quebec, Canada su: Motion pictures Gunning, Tom Gaudreault, André Storytelling Filmmaking Motion picture history United Kingdom sug: subj: United Kingdom Motion pictures Gunning, Tom Gaudreault, André Storytelling Filmmaking Motion picture history keyword: Astonishment early British scenic filmmaking nature appreciation the phantom ride the sublime ab: The field of early cinema has been strongly influenced by Tom Gunning and André Gaudreault's 'cinema of attractions' model, where films produced before approximately 1906 were valued primarily because of their ability to put a view on display rather than as a vehicle for storytelling. This model of spectatorship, established by both the gaze of the spectator and the recurring look of the subjects on screen, engendered a kind of exhibitionism that was in stark contrast to both the voyeuristic drive embedded in institutional modes of narrative absorption, and earlier models of aesthetic experience, which were characterized as contemplative, because the curiosity derived from each attraction remained only momentarily and usually was induced by a visual shock. This paper will interrogate the distinction made by the second set of criteria by analyzing how many early 'scenics' produced in Great Britain constructed a dialectic between a state of detached contemplation and visceral immersion. It will do so by drawing on questions about the role of proximity, distance and point of view invoked by the model of spectatorship described as part of the formulation for the Romantic sublime. This early conceptualization of the relationship between subject and spectacle becomes a framework that could allow both historians and theorists to better understand the link between shock and contemplation in the realm of early film aesthetics and more broadly in the domain of landscape aesthetics. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Early Popular Visual Culture is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Early Popular Visual Culture holder: Taylor & Francis Ltd dt: @attributes: year: 2016 holdings: @attributes: islocal: N |
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