Abstract
The following article traces the historical development of the notion of spectacle. It first provides an outline of theoretical research on the subject, pointing out various interpretations and approaches. Secondly, comparative-quantitive analysis is used to compare several film series (Die Hard, Fast and Furious, Mad Max, Predator) in order to find what changes spectacle has undergone in mainstream action-adventure cinema, and to what extent these permutations have impacted the relationship between narration and spectacle. Finally, key takeaways are summarised and additional questions for future research posed.
Highlights
If diegetic integration emphasises storytelling – the narration1 provides data for the audience and the latter uses its cognitive capacities and expectations in order to facilitate the mental reconstruction of a chronological blow-by-blow account called a “story,”, complete with deadlines, character motivations, plot goals, plots twists and so on – a cinema of attractions “directly solicits spectator attention, inciting visual curiosity, and supplying pleasure through an exciting spectacle – a unique event, whether fictional or documentary, that is of interest in itself” (Gunning, 2006a, p. 384)
There are two methodological problems arising from the concept of attraction: a semantic problem regarding difference between attraction and spectacle and a formal problem regarding the relation between attraction and narrative
“spectacularness” is on another level and the formal, stylistic and technical arsenal of the moviemaker (CGI, stunt work, special effects etc.) has grown to the point that contemporary directors appear to feel the urge to utilise a plethora of methods, leading to eclectic fiction films such as Deadpool (2016), blending humour, postmodern allusionism and puzzle film non-linearity, or even highly spectacular biopics: in I, Tonya (2017), Speed Kills (2018) or American Made (2018) characters break the fourth wall, filters give some shots a VHS graininess, there are documentary-like interview scenes, non-linear storytelling, slow-motion montage sequences with non-diegetic music, CGI, fastcut, Guy Ritchie-like editing as well as jerky snap-zooms and obscured framing resembling hidden hand-held cameras or smartphones. These formal and stylistic solutions exemplify the kind of eclecticism and technical intensity that has slipped into every nook and cranny of modern cinema, and since attractions are
Summary
Eisenstein’s notion for a long time was used primarily in connection with Eisenstein’s films and theoretical writings It was Tom Gunning who rejuvenated it, giving it new life in a text titled The Cinema of Attractions[s]: Early Film, Its Spectator and the Avant-Garde (Gunning 2006b). If diegetic (or narrative) integration emphasises storytelling – the narration provides data for the audience and the latter uses its cognitive capacities and expectations in order to facilitate the mental reconstruction of a chronological blow-by-blow account called a “story,” (or fabula), complete with deadlines, character motivations, plot goals, plots twists and so on – a cinema of attractions “directly solicits spectator attention, inciting visual curiosity, and supplying pleasure through an exciting spectacle – a unique event, whether fictional or documentary, that is of interest in itself” If the former is “inward” and “voyeuristic,” seeking to involve the viewer’s mind in the story-telling process and the psychology of the characters, the latter is “outward” and “exhibitionist,” attempting to appeal directly to the spectator senses and emotions
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