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The cinema of attractions was more about the pleasure of the spectacle than narrative absorption. The erotic film of early cinema could be understood as an extreme example of this kind of exhibitionist cinema. These acts of display produced a sense of immediacy and presence and therefore were highly affective and engaged the senses. The cinema of attractions was dominated by acts of display that manifested themselves through sudden burst of presentation such as a still shot of a train suddenly coming to life through movement and rushing forward. Today many of the clips on video-sharing sites like YouTube bear a remarkable similarity to these early films. Gunning explains that, “As moments of spectacle, their purpose lies in the attention they draw to themselves,” rather than in the development of narrative devices such as “characterization, causality, narrative suspense, and the creation of a consistent fictional world” (Gunning 1994: 190).
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Instead it produces a very visceral viewing experience full of shocks and thrills. Firstly, he argues that unlike the narrative form, “attractions address the viewer directly, soliciting attention and curiosity through acts of display.” Addressing the audience directly destroys any possibility of a voyeuristic viewing experienced. Gunning opposes the cinema of attractions to a cinema based on narrative constructions in a number of ways. It explores the possibility that media practices specific to YouTube not only extend the concept of attractions, but more importantly produce a unique form of attraction specific to the medium, one that might be thought about as YouTube attractions.
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This essay examines how the concept of attractions might be useful for understanding video sharing sites like YouTube. They too address the audience directly, are exhibitionist and are frequently sensational and shocking.
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It was a cinema based on spectacle, shock and sensation.
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As Gunning puts it, “It is the direct address of the audience, in which an attraction is offered to the spectator by a cinema showman, that defines this approach to film making (Gunning 1990: 58). According to Gunning unlike contemporary narrative cinema, which solicits a voyeuristic spectatorial gaze, early cinema is an exhibitionist cinema where the spectator is overtly acknowledged and invited to look. Most people would be distraught at the sight of their dead lover and even worried about the legal implications, but Abe continues further down the psychotic path, severing Ishida's penis and writing, "Sada Kichi the two of us forever," in blood on his chest.Tom Gunning has described cinema prior to 1906 as a cinema of attractions (Gunning 1990: 56). That alone makes the ending of In the Realm of the Senses uncomfortable to watch, but what guaranteed the scene a spot on this list is what happens after Ishida's death. The two become obsessed with the bond they share as they begin to explore each others most explicit sexual fantasies, culminating in the death of Ishida during an extreme lovemaking session involving strangulation. Abe and the hotel owner Kichizo Ishida (Tatsuya Fuki) begin an intense relationship which consumes both their lives, to the point where Ishida leaves his family. The story follows a former prostitute called Sada Abe (Eiko Matsuda) who works as a hotel maid in Tokyo. While, this classic art house film may be well made on a technical level, containing important messages about the state of Japan in the 1930's, all that it will be ultimately remembered for is the non-stop real sex scenes that pervade the majority of the films running time. In The Realm Of The Senses (1976) Directed by Nagisa Oshima, In the Realm of the Senses caused a huge amount of controversy during its initial release in 1976.