Introduction to an Attractive Concept, Theory Formation ("The Cinema of Attractions"), Spectacle, Attractions and Visual Pleasure, Attractions: How They Came into the World,32 A Rational Reconstruction of "The Cinema of Attractions, The Cinema of Attractions as Dispositif,58Attraction Theories and Terminologies ["Early Film"] From "Primitive Cinema" to "Kine-Attractography", From "Primitive Cinema" to "Marvelous" The Attraction of the Intelligent Eye: Obsessions with the Vision Machine in Early Film Theories, Rhythmic Bodies/Movies: Dance as Attraction in Early Film Culture, Audiences and Attractions [Its Spectator], A Cinema of Contemplation, A Cinema of Discernment: Spectatorship, Intertextuality and Attractions in the 1890s, The Lecturer and the Attraction, Integrated Attractions: Style and Spectatorship in Transitional Cinema, Discipline through Diegesis: The Rube Film between "Attractions" and Narrative Integration, Attraction Practices through History ["The Avant-Garde": section 1], Circularity and Repetition at the Heart of the Attraction: Optical Toys and the Emergence of a New Cultural Series, Lumière, the Train and the Avant-Garde, Programming Attractions: Avant-Garde Exhibition Practice in the 1920s and 1930s, The Associational Attractions of the Musical, Digital Media and (Un)Tamed Attractions [The Avant-Garde: section 2], Chez le Photographe c'est chez moi: Relationship of Actor and Filmed Subject to Camera in Early Film and Virtual Reality Spaces, The Hollywood Cobweb: New Laws of Attraction, Figures of Sensation: Between Still and Moving Images, "Cutting to the Quick": Techne, Physis, and Poiesis and the Attractions of Slow Motion, Dossier, Pie and Chase: Gag, Spectacle and Narrative in Slapstick Comedy, Early Cinema as a Challenge to Film History, The Cinema of Attraction[s]: Early Film, Its Spectator and the Avant-Garde, Rethinking Early Cinema: Cinema of Attractions and Narrativity, Notes on Contributors, General Bibliography, Index of Names, Index of Film Titles, Index of Subjects.
