TABLE OF CONTENTS

CHAPTER 5/PART 1  EXPLORING SPACE, ACTION, AND STORY

THE COMING OF ATTRACTIONS

“The Cinema of Attraction”

“The Ability to Show Something”

The Camera Ponders Its Own Point of View: How It Feels to Be Run Over

Figure 5.1: What the Cameraman Saw

The Spectator Gags on the Joke: The Big Swallow

Figure 5.2: The Spectacle of One Mouth Swallowing

“The Subject Did Not Matter”: “Living Pictures” at the Fairground

Figure 5.3: The British Fairground

Diversity and Contrast Building to a Climax

Figure 5.4: The Apparatus as Attraction, ca. 1902

G.A Smith and the Multishot Attraction

Figure 5.5: G.A. Smith’s Studio

Point of View; Or, Showing What the Cinema Can Do

Figure 5.6: Through the Reading Glass
Figure 5.7: What the Voyeur Saw

An Intimation of Continuity

Figure 5.8: A Little Dalliance in the Dark

WHAT IS TRUE “NARRATIVIZATION” OF THE CINEMA?

Figure 5.9: Continuity and the Closeup

Point of View and the Appearance of the Surreptitious Camera

Classical Point of View and Eyeline Matching

Figure 5.10: The Classical Point of View

Signifying the Stupid: Mary Jane’s Mishap

Figure 5.11: Continuity and Context

Découpage Classique and the Criterion of Synthesis

Figure 5.12: Schematic for a Three-Shot Scene

A Logic of Synthesis

What to Do about the Woman on the Balcony: Attack on a China Mission

Figure 5.13: Lending a Little Drama to the Newsreel

James Williamson and the Intimation of Plastic Space

Trial and Error in Continuity Management

Figure 5.14: James Williamson’s Filmmaking Complex

An Exercise in Primitive Construction: Stop Thief!

Figure 5.15: Continuity in Action (I)

The Troublesome Logic of Space and Time: Fire!

Figure 5.16: Continuity in Action (II)

Exploring Pro-Filmic Space

Continuity and Psychology

Figure 5.17: The Physics of Classical Continuity

GLOSSARY

REFERENCES

Reading 5.1: Jump Cut: “The Greatest Attraction of the Century”

Figure R5.1: The Wonder of Point of View
Figure R5.2: The Figures of Seduction

Biographical Sketch 5.2: Charles Urban

Figure B5.6: The Urban Bioscope
Figure B5.7: The Bioscope and the Boer War
Figure B5.8: The Scientific Attraction (I): F. Martin Duncan
Figure B5.9: “We Put the World before You”
Figure B5.10: The Scientific Attraction (II): Percy Smith
Figure B5.11: “The Marvel of the Age”
Figure B5.12: The News as Spectacle
Figure B5.13: “The First Feature-Length Documentary Film Record of Combat”

Reading 5.2: Jump Cut: “The Purest Type of Cinematic Idea”

Figure R5.3: The Surreptitious Camera of Alfred Hitchcock

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