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Special AffectsCinema, Animation and the Translation of Consumer Culture$
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Eric S. Jenkins

Print publication date: 2014

Print ISBN-13: 9780748695478

Published to Edinburgh Scholarship Online: May 2015

DOI: 10.3366/edinburgh/9780748695478.001.0001

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Astonishment and the Fantastic in Live-Action Cinema

Astonishment and the Fantastic in Live-Action Cinema

Chapter:
(p.27) Chapter 2 Astonishment and the Fantastic in Live-Action Cinema
Source:
Special Affects
Author(s):

Eric S. Jenkins

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748695478.003.0002

This chapter traces the emergence of classical Hollywood cinema from the earlier practices often called the cinema of attractions. The chapter argues that the cinema of attractions attracted viewers due to the astonishment of seeing lifelike movement. Although classical cinema continues to tap into this special affection, it also develops modes that enable the feeling of the fantastic – seeing things with human eyes that only seem to exist in the imagination. Classical cinema thus develops a mode that relies upon the transposability and translocatability of the medium to structure a relation with the viewer. The movement-image (Deleuze) is the name for the interface developed for this mode.

Keywords:   Translation, Classical Hollywood, Movement-image, Cinema of attractions, Astonishment, The Fantastic, Translocatability, Transposability

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