Narodziny kina z ducha triku
The Birth of The Cinema Out of The Spirit of The Trick

Summary/Abstract: The author points to the ideology of attraction as a cinematic element that constitutes its nature, from its birth in the nineteenth century to the present. He highlights the continuity of the ontological affinity of early attractions and contemporary digital special effects (e.g. trick of substitution with penetration and multiple exposure and contemporary aesthetics of blue screen surface compositing, Méliès’ actor-figurante and modern motion capture technique). Gwóźdź also argues that Méliès creatively and perfectly played the interface: theatre – cinema. By enriching the theatre with moving images and by maintaining the stage at the cinema (preserving, for example, the status of the performer arranging the action environment), he has been running advanced media games. In this sense, Gwóźdź recognizes Méliès as the precursor of modern film design methods that work from the “image” (rather than from the mise-en-scène), thus making the right environment for the trick and leading to the escalation of the impossible: the impression of reality based on mimesis being replaced by impression of reality as a trick.

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