The Routledge Companion to New Cinema History: 1st Edition (Hardback) book cover

The Routledge Companion to New Cinema History

1st Edition

Edited by Daniel Biltereyst, Richard Maltby, Philippe Meers

Routledge

410 pages

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Hardback: 9781138955844
pub: 2019-02-14
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Description

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 companionexamines the place, space, and practices of film exhibition and programming; the questions of gender and ethnicity within the cinematic experience; and theways 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.

Table of Contents

Introduction: The scope of new cinema history, Daniel Biltereyst, Richard Maltby and Philippe Meers

PART 1. Reflections and comments

Introduction: the scope of new cinema history, Daniel Biltereyst, Richard Maltby, and Philippe Meers

PART I. Reflections and comments

Introduction

1. Connections, intermediality, and the anti-archive: a conversation with Robert C. Allen, Richard Maltby and Philippe Meers

2. Film history, cultural memory, and the experience of cinema: a conversation with Annette Kuhn, Daniel Biltereyst

3.How I became a new cinema historian, Melvyn Stokes

4. The subject of history and the clutter of phenomena, John Caughie

5. The new nontheatrical cinema history?, Gregory A. Waller

PART II. Challenges and opportunities

Introduction

6. Reading newspapers and writing American silent cinema history, Richard Abel

7. Arclights and zoom lenses: searching for influential exhibitors in film history’s big data, Eric Hoyt

8. 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 Meers

9. 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 Thissen

PART III. Distribution and trade

Introduction

11. Early film stars in trade journals and newspapers: data-based research on global distribution and local exhibition, Martin Loiperdinger

12. 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 Maltby

14. "When in doubt, Showcase": The rise and fall of United Artists’ revolutionary New York distribution pattern, Zoë Wallin

15.When distributors’ trash becomes exhibitors’ treasure: rethinking film success and failure, Dean Brandum, Bronwyn Coate, and Deb Verhoeven

PART IV. Exhibition, place and space

Introduction

16. Roll the credits: gender, geography, and the people’s history of cinema, Jeffrey Klenotic

17. Three moments of cinema exhibition, Mike Walsh, Richard Maltby, and Dylan Walker

18. Currents of empire: transport, electricity, and early film exhibition in colonial Indonesia,Dafna Ruppin

19. Remembering the first movie theatres and early cinema exhibition in Quay, Smyrna, Turkey, Dilek Kaya

20. Exhibiting films in a predominantly Mexican American market: the case of Laredo, Texas, a small USA-Mexico border town, 1896-1960, José Carlos Lozano

PART V. Programming, popularity, and film

Introduction

21. 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 Jurca

23. To be continued…: seriality, cyclicality and the new cinema history, Tim Snelson

24. Kino-barons and noble minds: specifics of film exhibition beyond commercial entertainment, Lucie Česálková

25. When the history of moviegoing is a history of movie watching, then what about the films?, Frank Kessler and Sabine Lenk

26. The evergreens and mayflies of film history: the age distribution of films in exhibition, Karel Dibbets

PART VI. Audiences, reception, and cinemagoing experiences

Introduction

27. Analysing memories through video-interviews: a case study of post-war Italian cinemagoing, Daniela Treveri Gennari, Silvia Dibeltulo, Danielle Hipkins, and Catherine O’Rawe

28. Social sense and embodied sensibility: towards a historical phenomenology of filmgoing, Stephen Putnam Hughes

29. "It Pays to Plan ’em!": the newspaper movie directory and the paternal logic of mass onsumption, Paul S. Moore

30. Why young people still go to the movies: historical and contemporary cinemagoing audiences in Belgium, Liesbet Van de Vijver

31. For many but not for all: Italian film history and the circumstantial value of audience studies, Mariagrazia Fanchi

About the Editors

Daniel Biltereyst is Professor in Film and Media Studies at Ghent University, Belgium, where he is also director of the Centre for Cinema and Media Studies (CIMS). His work deals with issues of media historiography, media controversy, and audience’s media engagements.

Richard Maltby is Matthew Flinders Distinguished Professor of Screen Studies at Flinders University, South Australia. A Fellow of the Australian Academy of the Humanities, he has published extensively on the cultural history of Hollywood, and has edited seven books on the history of cinema audiences, exhibition, and reception.

Philippe Meers is Professor in Film and Media Studies at the University of Antwerp, Belgium, where he chairs the Center for Mexican Studies and is deputy-director of the Visual and Digital Cultures Research Center (ViDi). He has published widely on historical and contemporary film culture and audiences.

About the Series

Routledge Media and Cultural Studies Companions

Routledge Media and Cultural Studies Companions offer thorough, high-quality surveys and assessments of the major topics in the fields of media and cultural studies. All entries in each companion are specially commissioned and written by leading scholars in the field. Clear, accessible, and cutting-edge, these companions are the ideal resource for advanced undergraduates, postgraduate students, and researchers alike.

You may also wish to visit our Routledge Handbooks Online platform to view Routledge’s full companion and handbook offerings: https://www.routledgehandbooks.com/.

Learn more…

Subject Categories

BISAC Subject Codes/Headings:
SOC052000
SOCIAL SCIENCE / Media Studies