In viewing the film Coming Attractions one aspect of the mechanics of analog filmmaking that I noticed foregrounded in this film is how the utilization of frame rate

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In viewing the film Coming Attractions one aspect of the mechanics of analog filmmaking that I noticed foregrounded in this film is how the utilization of frame rate. in the beginning of the film, we see the frame rate and the aperture and how they affect the way the video plays. The audience hears the camera rolling as well as sees how the frame rate gives it a flickering motion. Along with this, the audience can see the image open up through the way the aperture is utilized. Anti-illusionism is presented beautifully in this regard through the woman nodding her head to one side and how it repeats the same exact fashion, almost on a loop. In the article, Peter Tscherkassky: Audiovisuals from a Dark Room, it says “The footage searched, found and extrapolated both by the cinema history and contemporary films, becomes for Tscherkassky a starting point of an obsessive work on frame details, an iconographic deconstruction, a play on superimpositions, a direct attack to the senses of the spectator, absorbed by the rhythm of the flicker. The eye searches for a remaining of shapes in the projection which becomes just light and darkness; it looks for traces of the primary image which the film takes with itself, even in the most radical manipulation.” What this means is that the intention of the film is to use its content to subvert the ideas of a traditional film and traditional aesthetics and rather draw audiences into this assault on their sense for the sake of finishing the repetition.