Twenty years ago, noted film scholars Tom Gunning and André Gaudreault introduced the phrase “ cinema of attractions” to describe the essential qualities of films made in the medium’ s earliest days, those produced between 1895 and 1906. Now, "The Cinema of Attractions Reloaded" critically examines the term and its subsequent wide-ranging use in film studies.
                      The collection opens with a history of the term, tracing the collaboration between Gaudreault and Gunning, the genesis of the term in their attempts to explain the spectacular effects of motion that lay at the heart of early cinema, and the pair’ s debts to Sergei Eisenstein and others. This reconstruction is followed by a look at applications of the term to more recent film productions, from the works of the Wachowski brothers to virtual reality and video games.
                      With essays by an impressive collection of international film scholars— and featuring contributions by Gunning and Gaudreault as well— "The Cinema of Attractions Reloaded" will be necessary reading for all scholars of early film and its continuing influence.

This collection of essays highlights innovative work in the developing field of media archaeology. It explores the relationship between theory and practice and the relationship between media archaeology and other disciplines. There are three sections to the collection proposing new possible fields of research for media studies: Media Archaeological Theory; Experimental Media Archaeology; Media Archaeology at the Interface. The book includes essays from acknowledged experts in this expanding field, such as Thomas Elsaesser, Wanda Strauven and Jussi Parikka.

Screen Space Reconfigured is the first edited volume that critically and theoretically examines the many novel renderings of space brought to us by 21st century screens. Exploring key cases such as post-perspectival space, 3D, vertical framing, haptics, and layering, this volume takes stock of emerging forms of screen space and spatialities as they move from the margins to the centre of contemporary media practice. Recent years have seen a marked scholarly interest in spatial dimensions and conceptions of moving image culture, with some theorists claiming that a 'spatial turn' has taken place in media studies and screen practices alike. Yet this is the first book-length study dedicated to on-screen spatiality as such. Spanning mainstream cinema, experimental film, video art, mobile screens, and stadium entertainment, the volume includes contributions from such acclaimed authors as Giuliana Bruno and Tom Gunning as well as a younger generation of scholars.

Twenty years ago, noted film scholars Tom Gunning and Andre Gaudreault introduced the phrase "cinema of attractions" to describe the essential qualities of films made in the medium's earliest days, those produced between 1895 and 1906. Now, "The Cinema of Attractions Reloaded" critically examines the term and its subsequent wide-ranging use in film studies.
The collection opens with a history of the term, tracing the collaboration between Gaudreault and Gunning, the genesis of the term in their attempts to explain the spectacular effects of motion that lay at the heart of early cinema, and the pair's debts to Sergei Eisenstein and others. This reconstruction is followed by a look at applications of the term to more recent film productions, from the works of the Wachowski brothers to virtual reality and video games.
With essays by an impressive collection of international film scholars--and featuring contributions by Gunning and Gaudreault as well--"The Cinema of Attractions Reloaded" will be necessary reading for all scholars of early film and its continuing influence.

Futurism and early cinema shared a fascination with dynamic movement and speed, presenting both as harbingers of an emerging new way of life and new aesthetic criteria. And the Futurists quickly latched on to cinema as a device with great potential to manipulate our perceptions in order to create a new world. In the edited collection Futurist Cinema, Rossella Catanese explores that conjunction, bringing in avant-garde artists and their manifestos to show how painters and other artists turned to cinema as a model for overcoming the inherently static nature of painting in order to rethink it for a new era.