“The cinema of attractions” describes a unique period in film history, a time when filmmakers were more interested in engaging their audience’s senses and providing visual thrills than the plot itself. Gunning’s concept of the cinema of attractions challenges the conventional narrative-driven approach to filmmaking, arguing that early cinema was characterized by its focus on captivating the audience through direct engagement. It was all about providing a series of visual “attractions” that would thrill and amaze the spectators.

One of the cinema’s attractions was its quality. Unlike later narrative cinema, where actors rarely acknowledge the camera, early filmmakers encouraged their actors to look directly into the lens. This not only broke the illusion of the film’s reality but also created a direct connection with the audience. It was as if the actors were performing for the viewers, inviting them into the experience. Even within non-actuality filming, there was a “Méliès tradition” that incorporated narrative elements differently from traditional narrative films. Georges Méliès, a pioneer in special effects and trick films, declared that he considered the scenario or story as a mere pretext for creating “stage effects” and “tricks.” The primary goal was to provide an entertaining display of magical possibilities rather than to tell a story.

The concept of the cinema of attractions didn’t disappear as narrative cinema gained dominance. Instead, it went underground and continued to influence various film genres, particularly in spectacle films. For instance, many films in the early 20th century retained elements of attraction, showcasing moments of pure visual spectacle alongside storytelling. Gunning’s concept of the cinema of attractions reminds us that cinema’s history is not a linear progression from simple visual stimulation to complex narrative storytelling.

In today’s cinema landscape, we can still see the influence of the cinema of attractions. For example, “Citizen Kane” engages the audience in a way that recalls the exhibitionist quality of early cinema. Charles Foster Kane addresses the camera directly at various points, breaking the fourth wall and creating a sense of intimacy with the audience. This kind of direct engagement can be seen as a connection to the cinema of attractions, where actors would look directly at the camera to establish a connection with viewers. The film’s use of deep focus cinematography and elaborate sets is a visual spectacle in itself, while the narrative explores the life of the protagonist. This balance between spectacle and storytelling is the synthesis of attractions and narrative that Gunning mentioned in his essay.