Description
Taylor and Francis Routledge Companion To New Cinema History 1St Edition 2019 by Daniel Biltereyst, Richard Maltby, Philippe Meers
The Routledge Companion to New Cinema History presents the most recent approaches and methods in the study of the social experience of cinema, from its origins in vaudeville and traveling exhibitions to the multiplexes of today.Exploring its history from the perspective of the cinemagoer, the study of new cinema history examines the circulation and consumption of cinema, the political and legal structures that underpinned its activities, the place that it occupied in the lives of its audiences and the traces that it left in their memories. Using a broad range of methods from the statistical analyses of box office economics to ethnography, oral history, and memory studies, this approach has brought about an undisputable change in how we study cinema, and the questions we ask about its history. This companion examines the place, space, and practices of film exhibition and programming; the questions of gender and ethnicity within the cinematic experience; and the ways in which audiences gave meaning to cinemagoing practices, specific films, stars, and venues, and its operation as a site of social and cultural exchange from Detroit and Laredo to Bandung and Chennai. Contributors demonstrate how the digitization of source materials and the use of digital research tools have enabled them to map previously unexplored aspects of cinema's business and social history and undertake comparative analysis of the diversity of the social experience of cinema across regional, national, and continental boundaries. With contributions from leading scholars in the field, The Routledge Companion to New Cinema History enlarges and refines our understanding of cinema's place in the social history of the twentieth century. Introduction: The scope of new cinema history, Daniel Biltereyst, Richard Maltby and Philippe MeersPART 1. Reflections and commentsIntroduction: the scope of new cinema history, Daniel Biltereyst, Richard Maltby, and Philippe MeersPART I. Reflections and commentsIntroduction1. Connections, intermediality, and the anti-archive: a conversation with Robert C. Allen, Richard Maltby and Philippe Meers2. Film history, cultural memory, and the experience of cinema: a conversation with Annette Kuhn, Daniel Biltereyst3. How I became a new cinema historian, Melvyn Stokes4. The subject of history and the clutter of phenomena, John Caughie5. The new nontheatrical cinema history?, Gregory A. WallerPART II. Challenges and opportunitiesIntroduction6. Reading newspapers and writing American silent cinema history, Richard Abel7. Arclights and zoom lenses: searching for influential exhibitors in film history's big data, Eric Hoyt8. Comparing historical cinema cultures: reflections on new cinema history and comparison with a cross-national case study on Antwerp and Rotterdam, Daniel Biltereyst, Thunnis van Oort and Philippe Meers9. The archaeology of itinerant film exhibition: unpacking the Brinton Entertainment Company Collection, Kathryn Fuller-Seeley 10. Cinema history as social history: retrospect and prospect, Judith ThissenPART III. Distribution and tradeIntroduction11. Early film stars in trade journals and newspapers: data-based research on global distribution and local exhibition, Martin Loiperdinger12. The high stakes conflict between the Motion Picture Export Association and the Netherlands Cinema Association 1945-1946, Clara Pafort-Overduin and Douglas Gomery 13. "Perhaps everyone has forgotten just how pictures are shown to the public": continuous performance and double billing in the 1930s, Richard Maltby14. "When in doubt, Showcase": The rise and fall of United Artists' revolutionary New York distribution pattern, Zoe Wallin15. When distributors' trash becomes exhibitors' treasure: rethinking film success and failure, Dean Brandum, Bronwyn Coate, and Deb VerhoevenPART IV. Exhibition, place and spaceIntroduction16. Roll the credits: gender, geography, and the people's history of cinema, Jeffrey Klenotic17. Three moments of cinema exhibition, Mike Walsh, Richard Maltby, and Dylan Walker18. Currents of empire: transport, electricity, and early film exhibition in colonial Indonesia, Dafna Ruppin19. Remembering the first movie theatres and early cinema exhibition in Quay, Smyrna, Turkey, Dilek Kaya20. Exhibiting films in a predominantly Mexican American market: the case of Laredo, Texas, a small USA-Mexico border town, 1896-1960, Jose Carlos LozanoPART V. Programming, popularity, and filmIntroduction21. Popular filmgoing in mid-1950s Milan: opening up the 'black box', John Sedgwick and Marina Nicoli 22. Distribution and exhibition in Warner Bros. Philadelphia Theaters, 1935-1936, Catherine Jurca23. To be continued...: seriality, cyclicality and the new cinema history, Tim Snelson24. Kino-barons and noble minds: specifics of film exhibition beyond commercial entertainment, Lucie Cesalkova25. When the history of moviegoing is a history of movie watching, then what about the films?, Frank Kessler and Sabine Lenk26. The evergreens and mayflies of film history: the age distribution of films in exhibition, Karel DibbetsPART VI. Audiences, reception, and cinemagoing experiencesIntroduction27. Analysing memories through video-interviews: a case study of post-war Italian cinemagoing, Daniela Treveri Gennari, Silvia Dibeltulo, Danielle Hipkins, and Catherine O'Rawe28. Social sense and embodied sensibility: towards a historical phenomenology of filmgoing, Stephen Putnam Hughes29. "It Pays to Plan 'em!": the newspaper movie directory and the paternal logic of mass onsumption, Paul S. Moore30. Why young people still go to the movies: historical and contemporary cinemagoing audiences in Belgium, Liesbet Van de Vijver31. For many but not for all: Italian film history and the circumstantial value of audience studies, Mariagrazia Fanchi