ABSTRACT
This present anthology confirms what has been obvious for some time: the turn of phrase “cinéma of attractions” has captured the enthusiastic attention of the film studies community as well as a wide range of scholars working in visual culture. It has not only provided a powerful means of gaining insight into important aspects of early cinéma but served as a gloss for those seeking a quick, up-to-date understanding of its cultural gestalt. In his many articles on the topic, Tom Gunning has counterposed the cinéma of attractions to narrative, arguing that before 1903-04 or perhaps 1907-08, cinéma has been primarily about these moments of visual eruption rather than sustained storytelling. In “Rethinking Early Cinema: Cinema of Attractions and Narrativity” 1 which is being reprinted in the dossier of this volume, I engaged this assessment of narrative in early cinéma on several levels.
