Kooperativer Bibliotheksverbund

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Format: XXVIII, 482 p. 46 illus., 7 illus. in color. , online resource.

Edition: 1st ed. 2024.

ISBN: 9783031387890

Content: This Handbook offers new and previously unexplored comparative approaches to the field of New Cinema History. The volume brings together contributions focussing on historical and contemporary comparative case studies of cinema-going practices, cinema distribution, exhibition and reception from a global perspective. Engaging with a wealth of empirical and archive-based sources the volume explores a wide range of methodological and theoretical approaches. This Handbook is a key addition to debates on the relationship between film industry and cinema-going practices across different political and cultural geographical dimensions. Daniela Treveri Gennari is Professor of Cinema Studies at Oxford Brookes University, UK. She is the Principal Investigator of the AHRC-funded project European Cinema Audiences. Entangled Histories, Shared Memories. Her publications include, among others, the edited volume Rural Cinema Exhibition and Audiences in a Global Context (Palgrave, 2018). Lies Van de Vijver is Co-Investigator and project manager of European Cinema Audiences. She edited Mapping Movie Magazines: Digitization, Periodicals and Cinema History (Palgrave, 2020) with Daniel Biltereyst, runner-up for BAFTSS Best Edited Collection 2021. Pierluigi Ercole is Associate Professor of Film Studies at De Montfort University, UK. He is Co-Investigator for the AHRC-funded project European Cinema Audiences. Entangled Histories, Shared Memories. Chapter(s) "Chapter 8." is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

Note: 1. Comparing New Cinema Histories: An introduction. Daniela Treveri Gennari, Lies Van de Vijver & Pierluigi Ercole -- Part I. Local Encounters -- Introduction. Daniela Treveri Gennari, Lies Van de Vijver & Pierluigi Ercole -- 2. Comparing localised film culture in English cities: the diversity of film exhibition in Bristol and Liverpool. Peter Merrington, Matthew Hanchard, Bridgette Wessels -- 3. Cinema-going in Turkey between 1960 and 1980: Cinema memories, film culture and modernity. Hasan Akbulut -- 4. "A United Stand and a Concerted Effort:" Black cinema-going in Harlem and Jacksonville during the silent era. David Morton & Agata Frymus -- 5. Exhibition of national and foreign films in six Mexican cities during the Golden Age of Mexican cinema: The year of 1952. José Carlos Lozano, Blanca Chong, Efraín Delgado, Jaime Miguel González, Jorge Nieto Malpica and Brenda Muñoz -- 6. Comparing aspects of regional and local cinema differentiation through perceptions of cinema-going in post-socialist Bulgaria. Maya Nedyalkova -- 7. A comparative analysis of the Polish film market from the first years of independence to 1930. Karina Pryt -- 8. Managing constraints and stories of freedom: Comparing cinema memories from the 1950s and 60s in Sweden. Åsa Jernudd & Jono Van Belle -- 9. Film consumption and censorship pre and post Covid-19 global pandemic: A comparison on undergraduate perspective in The Bahamas. Monique Toppin -- Part II. European encounters -- Introduction. Daniela Treveri Gennari, Lies Van de Vijver & Pierluigi Ercole -- 10. "Our job is to pull audience to Soviet films with all means necessary". State-monopolised film distribution and patterns of film exhibition in two Eastern Bloc cities in the Stalinist period: a comparative case study of Cracow (Poland) and Magdeburg (East Germany). Kathleen Lotze & Konrad Klejsa -- 11. Cinephiles without films: Culture, censorship and alternative forms of film consumption in Spain and the GDR around 1960. Fernando Ramos Arenas -- 12. Discovering cinema typologies in urban cinema cultures: comparing programming strategies in Antwerp and Amsterdam, 1952-1972. Julia Noordegraaf, Thunnis van Oort, Kathleen Lotze, Daniel Biltereyst, Philippe Meers & Ivan Kisjes -- 13. Ticket whistles and football scores: Auditory ecology, memory and the cinema experience in 1950s Gothenburg and Bari. Kim Khavar Fahlstedt & Daniela Treveri Gennari -- 14. Measuring and interpreting film preferences in autocratic states. Joseph Garncarz -- 15. Cinema-going in German-occupied territory in the Second World War. The impact of film market regulations on supply and demand in Brno, Brussels, Krakow and The Hague. Clara Pafort-Overduin, Andrzej Dębski, Terezia Porubcanska, Karina Pryt, Pavel Skopal, Thunnis Van Oort, Roel Vande Winkel -- Part III. Global encounters -- Introduction. Daniela Treveri Gennari, Lies Van de Vijver & Pierluigi Ercole -- 16. Cinema-going in the South Asian diaspora: Indian films, entrepreneurs, and audiences in Trinidad and Durban, South Africa. James Burns -- 17. Cinema intermediaries, communities and audiences (Soviet Siberia, post-Ottoman Greek Thessaloniki, Colonial Maghreb). Morgan Corriou, Caroline Damiens, Mélisande Leventopoulos, Nefeli Liontou -- 18. German films in Latin America and the Second World War. A comparative study on Argentina and Ecuador. Marina Moguillansky & Yazmín Echeverría -- 19. Towards a global and decentralised history of film cultures. Networks of exchange among Ibero-American film clubs (1924-1958) as a case study. Ainamar Clariana & Diana Roig Sanz -- 20. Intercultural transfers in cinema dynamics. A global and digital approach to early writings on cinema through the Uruguayan periodicals archive. Pablo Suárez-Mansilla and Ventsislav Ikoff -- 21. Transnational cinema memory: Latin American womenremembering cinema-going across borders. Dalila Missero.

In: Springer Nature eBook

Additional Edition: Printed edition: ISBN 9783031387883

Additional Edition: Printed edition: ISBN 9783031387906

Additional Edition: Printed edition: ISBN 9783031387913

Language: English

DOI: 10.1007/978-3-031-38789-0

URL: https://doi.org/10.1007/978-3-031-38789-0

URL: Volltext  (URL des Erstveröffentlichers)

UID:

Format: 251 p , ill , 24 cm

ISBN: 8881031183

Series Statement: Biblioteca padana

Note: C. Zavattini (1902- 1989), writer and scriptwriter , Cont. bibl. refs., index and appendix , At head of title: Comune di Luzzara, Reggio Emilia , Proceedings, Luzzara (Reggio Emilia), 1998

Language: Italian

Keywords: Italien ; Film ; Zavattini, Cesare 1902-1989 ; Konferenzschrift

UID:

Format: 1 online resource (490 pages)

Edition: First edition.

ISBN: 3-031-38789-9

Note: Intro -- Acknowledgements -- Contents -- Notes on Contributors -- List of Figures -- List of Images -- List of Tables -- Chapter 1: Comparing New Cinema Histories: An Introduction -- References -- Part I: Local Encounters: Introduction -- Chapter 2: Comparing Localised Film Culture in English Cities: The Diversity of Film Exhibition in Bristol and Liverpool -- Uneven Film Exhibition and Film Audience Policy in England -- Comparative Local Film Exhibition Ecologies in Bristol and Liverpool -- Film Audience Perspectives -- Conclusion -- References -- Chapter 3: Cinema-Going in Turkey between 1960 and 1980: Cinema Memories, Film Culture, and Modernity -- Introduction: Examining the Audience and a Methodological Framework in Cinema Studies -- A Brief History of Turkey: Political and Cultural Climate in Turkey -- Audiences' Perception of Cinema from Dream Palaces to Flea-Ridden Cinemas -- Cinema-Going in the Capital: Learning Modernisation and Performing it -- Cinema-Going in the Rural: Experiencing a Social Event, Colouring Routine Life, and Learning to Modernise -- Cinema in Practices of Everyday Life: Telling Films through Performance and Blending Cinema to Tradition -- Conclusion: Cinema-Going as a Modernisation Experience and Performance -- List of the Interviewees Mentioned in the Text -- References -- Chapter 4: "A United Stand and a Concerted Effort": Black Cinema-going in Harlem and Jacksonville During the Silent Era -- Introduction -- Black Cinema-going in Harlem, New York City -- Black Resistance in Harlem -- Jacksonville's LaVilla -- "A Lily-White Syndicate Tough on Black Asses" Takes Over Ashley Street -- Conclusion -- References -- Chapter 5: Exhibition of National and Foreign Films in Six Mexican Cities During the Golden Age of Mexican Cinema: The Year of 1952 -- The Golden Age of Mexican Cinema. , Growth of Cinema Theatres in the 1940s and 1950s -- First National Theatre Circuits -- Exhibition of Movies in the Mexican Provinces -- Popularity of Mexican Films -- Mexican and US Films with the Highest Number of Screenings -- Mexican Films -- US Films -- Screenings and Release Dates for the Top-Gross US Films of 1951 and 1952 -- Foreign Films -- Conclusion -- References -- Chapter 6: Comparing Aspects of Regional and Local Cinema Differentiation through Perceptions of Cinema-going in Post-socialist Bulgaria -- Literature and Sources -- Method -- The Development of the Post-socialist Exhibition Landscape -- Survey Questionnaire and Focus Group Findings -- Perceived Cost of Cinema-going -- Perceptions on Ease of Access to Cinema -- Reflections on Film-related Information Flows -- Conclusion -- References -- Chapter 7: A Comparative Analysis of the Polish Film Market from the First Years of Independence to 1930 -- Introduction -- State of Research and Methodological Approach -- Diachronic Analysis of the Polish Cinema Market Until 1929 -- Comparing Spatial Analysis of the Polish Cinema Market -- Mapping Cinemas Against the Share of the Jewish Population -- Conclusion -- References -- Chapter 8: Managing Constraints and Stories of Freedom: Comparing Cinema Memories from the 1950s and 1960s in Sweden -- Understanding Cinema-going in Context -- Studying Cinema-going as Memories -- The 1950s and 1960s in Sweden -- Changing Contexts of Audio-visual Mass Media Consumption in the Post-war Period -- Memories of Leisure in a Life Cycle Perspective -- Pleasurable Memories of Boyhood Matinées -- Cinema-going, Gender, and Mobility in Youth -- Decentring Cinema: Cinema-going in an Expanding Youth Culture -- Concluding Discussion -- References. , Chapter 9: Film Consumption and Censorship Pre- and Post-COVID-19 Global Pandemic: A Comparison on Undergraduate Perspective in The Bahamas -- Brief History of Film Censorship -- Methodology -- The Survey Questionnaire -- The Participants -- Findings -- COB Cohort (2013) Survey Results -- The Location of Film Viewing and Viewing Frequency -- Forms of Film Censorship -- Attitudes towards Film Censorship and Classification/Rating Systems -- Reasons Why Films Should Be Classified/Rated -- UB Cohort (2021/2022) Survey Results -- The Location of Film Viewing and Viewing Frequency -- Film Censorship and Classification -- Attitudes towards Censorship and Classification/Rating Systems -- Discussion -- Conclusion -- Limitations -- References -- Part II: European Encounters: Introduction -- Chapter 10: "Our job is to pull audience to Soviet films with all means necessary". State-Monopolised Film Distribution and Patterns of Film Exhibition in Two Eastern Bloc Cities in the Stalinist Period: A Comparative Case Study of Cracow (Poland) and Mag -- National Film Policies in the PRP and the GDR in the Early 1950s -- Cracow and Magdeburg Cinema Culture in the Early 1950s -- Description of the Datasets -- East and West: General Profiles of Film Exhibition Practices -- Films and Themes -- In Focus: Premiere and Lower-rank Cinemas -- Conclusion -- References -- Chapter 11: Cinephiles without Films: Culture, Censorship and Alternative Forms of Film Consumption in Spain and the GDR around 1960 -- Censorship and its Unexpected Pitfalls -- Alternatives on Paper -- Conclusions -- References -- Chapter 12: Discovering Cinema Typologies in Urban Cinema Cultures: Comparing Programming Strategies in Antwerp and Amsterdam, 1952-1972 -- Introduction -- Cinema Typologies -- The Post-war Cinema Landscape in Antwerp and Amsterdam -- Corpus and Method -- Analysis -- Cluster Analysis. , 1962 -- 1972 -- Long-Term Trends -- Conclusion -- References -- Chapter 13: Ticket Whistles and Football Scores: Auditory Ecology, Memory and the Cinema Experience in 1950s Gothenburg and Bari -- Theoretical Framework -- Methodological Parameters -- Sound and Social Interaction -- Sound and Relationship with the Screen -- Sound and Voice of Authority -- Conclusions -- Appendix A: Search Words -- References -- Chapter 14: Measuring and Interpreting Film Preferences in Autocratic States -- The Problem -- Film Markets in Autocratic States -- Number of Screenings and Tickets Sold -- East Berlin, 1948 -- GDR, 1958 -- District Neubrandenburg in the GDR, 1972-1977 -- Film Screenings and Audiences in the GDR, 1978-1987 -- Wroclaw, 1972 -- Final Evidence -- Nazi Germany, 1933-1942 -- Top 14 of the GDR in 1980 -- Measuring Film Preferences -- Preference Patterns under Autocratic Conditions -- Nazi Germany (POPSTAT) -- Poland under Nazi occupation (POPSTAT) -- GDR, 1980 -- People's Republic of Poland, 1972 -- Conclusion -- Appendix: Top-Ranking Films Screened in Cracow, from 1940-1941 to 1943-1944a -- References -- Chapter 15: Cinema-going in German-occupied Territory in the Second World War. The Impact of Film Market Regulations on Supply and Demand in Brno, Brussels, Krakow and The Hague -- Description of the Dataset and Methodology -- German Policy in the Occupied Countries -- Exhibition and Distribution Regulations -- Audience Responses -- Market Regulations and Their Effect on Supply and Demand -- Conclusion -- Appendix -- References -- Part III: Global Encounters: Introduction -- Chapter 16: Cinema-Going in the South Asian Diaspora: Indian Films, Entrepreneurs and Audiences in Trinidad and Durban, South Africa -- Durban -- Trinidad -- Conclusion -- References. , Chapter 17: Cinema Intermediaries, Communities and Audiences (Soviet Siberia, Post-Ottoman Greek Thessaloniki, Colonial Maghreb) -- Alexandra Putintseva: Cinema for Indigenous Peoples at the Heart of Soviet Social Mobility -- Benico Segura, Jewish Entrepreneurship and Thessaloniki's Mutating Cinema Audiences -- The Baidas: Defending an Arab-Speaking Public Sphere in the Maghreb -- Identifying the Key Actors That Bring Together Moving Images and Audience Communities -- References -- Chapter 18: German Films in Latin America and the Second World War: A Comparative Study on Argentina and Ecuador -- New Cinema History and the Comparative Approach: Methodological Framework -- Latin American Cinema in the 1930s and the Exhibition of Nazi Films -- Argentina -- Ecuador -- Conclusion -- References -- Chapter 19: Towards a Global and Decentralised History of Film Cultures: Networks of Exchange among Ibero-American Film Clubs (1924-1958) -- Introduction -- The Idea and Definition of the Global: Rethinking Film History -- Networks of Ibero-American Film Clubs (1924-1958) -- The Birth, Waning, and Re-Emergence of Film Clubs in Ibero-America (1924-1958) (Fig. 19.1) -- The Birth or Emergence of Film Clubs: 1924-1936 -- The Waning of Film Clubs: 1936-1946 -- Re-Emergence Phase: 1946-1958 -- Conclusions -- References -- Chapter 20: Intercultural Transfers in Cinema Dynamics: A Global and Digital Approach to Early Writings on Cinema through the Uruguayan Periodicals Archive -- Introduction -- Composition of the Research Corpus -- Tracing a "Field" of Cinema Writing in the Digital Archive -- J. M. Podestá and the Seeds of a Transatlantic Network -- Southern Parallels and Dynamics -- Conclusion -- References -- Chapter 21: Transnational Cinema Memory: Latin American Women Remembering Cinema-Going Across Borders. , A Toolkit for a Mnemo-Centric Comparative Model: Reflexivity, Transnationalism, and Travelling Memories.

Additional Edition: ISBN 9783031387883

Language: English

UID:

Format: 1 online resource (490 pages)

Edition: 1st ed. 2024.

ISBN: 3-031-38789-9

Content: This Handbook offers new and previously unexplored comparative approaches to the field of New Cinema History. The volume brings together contributions focussing on historical and contemporary comparative case studies of cinema-going practices, cinema distribution, exhibition and reception from a global perspective. Engaging with a wealth of empirical and archive-based sources the volume explores a wide range of methodological and theoretical approaches. This Handbook is a key addition to debates on the relationship between film industry and cinema-going practices across different political and cultural geographical dimensions. Daniela Treveri Gennari is Professor of Cinema Studies at Oxford Brookes University, UK. She is the Principal Investigator of the AHRC-funded project European Cinema Audiences. Entangled Histories, Shared Memories. Her publications include, among others, the edited volume Rural Cinema Exhibition and Audiences in a Global Context (Palgrave, 2018). Lies Van de Vijver is Co-Investigator and project manager of European Cinema Audiences. She edited Mapping Movie Magazines: Digitization, Periodicals and Cinema History (Palgrave, 2020) with Daniel Biltereyst, runner-up for BAFTSS Best Edited Collection 2021. Pierluigi Ercole is Associate Professor of Film Studies at De Montfort University, UK. He is Co-Investigator for the AHRC-funded project European Cinema Audiences. Entangled Histories, Shared Memories. Chapter(s) “Chapter 8.” is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

Note: 1. Comparing New Cinema Histories: An introduction. Daniela Treveri Gennari, Lies Van de Vijver & Pierluigi Ercole -- Part I. Local Encounters -- Introduction. Daniela Treveri Gennari, Lies Van de Vijver & Pierluigi Ercole -- 2. Comparing localised film culture in English cities: the diversity of film exhibition in Bristol and Liverpool. Peter Merrington, Matthew Hanchard, Bridgette Wessels -- 3. Cinema-going in Turkey between 1960 and 1980: Cinema memories, film culture and modernity. Hasan Akbulut -- 4. “A United Stand and a Concerted Effort:” Black cinema-going in Harlem and Jacksonville during the silent era. David Morton & Agata Frymus -- 5. Exhibition of national and foreign films in six Mexican cities during the Golden Age of Mexican cinema: The year of 1952. José Carlos Lozano, Blanca Chong, Efraín Delgado, Jaime Miguel González, Jorge Nieto Malpica and Brenda Muñoz -- 6. Comparing aspects of regional and local cinema differentiation through perceptions of cinema-going in post-socialist Bulgaria. Maya Nedyalkova -- 7. A comparative analysis of the Polish film market from the first years of independence to 1930. Karina Pryt -- 8. Managing constraints and stories of freedom: Comparing cinema memories from the 1950s and 60s in Sweden. Åsa Jernudd & Jono Van Belle -- 9. Film consumption and censorship pre and post Covid-19 global pandemic: A comparison on undergraduate perspective in The Bahamas. Monique Toppin -- Part II. European encounters -- Introduction. Daniela Treveri Gennari, Lies Van de Vijver & Pierluigi Ercole -- 10. “Our job is to pull audience to Soviet films with all means necessary”. State-monopolised film distribution and patterns of film exhibition in two Eastern Bloc cities in the Stalinist period: a comparative case study of Cracow (Poland) and Magdeburg (East Germany). Kathleen Lotze & Konrad Klejsa -- 11. Cinephiles without films: Culture, censorship and alternative forms of film consumption in Spain and the GDR around 1960. Fernando Ramos Arenas -- 12. Discovering cinema typologies in urban cinema cultures: comparing programming strategies in Antwerp and Amsterdam, 1952-1972. Julia Noordegraaf, Thunnis van Oort, Kathleen Lotze, Daniel Biltereyst, Philippe Meers & Ivan Kisjes -- 13. Ticket whistles and football scores: Auditory ecology, memory and the cinema experience in 1950s Gothenburg and Bari. Kim Khavar Fahlstedt & Daniela Treveri Gennari -- 14. Measuring and interpreting film preferences in autocratic states. Joseph Garncarz -- 15. Cinema-going in German-occupied territory in the Second World War. The impact of film market regulations on supply and demand in Brno, Brussels, Krakow and The Hague. Clara Pafort-Overduin, Andrzej Dębski, Terezia Porubcanska, Karina Pryt, Pavel Skopal, Thunnis Van Oort, Roel Vande Winkel -- Part III. Global encounters -- Introduction. Daniela Treveri Gennari, Lies Van de Vijver & Pierluigi Ercole -- 16. Cinema-going in the South Asian diaspora: Indian films, entrepreneurs, and audiences in Trinidad and Durban, South Africa. James Burns -- 17. Cinema intermediaries, communities and audiences (Soviet Siberia, post-Ottoman Greek Thessaloniki, Colonial Maghreb). Morgan Corriou, Caroline Damiens, Mélisande Leventopoulos, Nefeli Liontou -- 18. German films in Latin America and the Second World War. A comparative study on Argentina and Ecuador. Marina Moguillansky & Yazmín Echeverría -- 19. Towards a global and decentralised history of film cultures. Networks of exchange among Ibero-American film clubs (1924-1958) as a case study. Ainamar Clariana & Diana Roig Sanz -- 20. Intercultural transfers in cinema dynamics. A global and digital approach to early writings on cinema through the Uruguayan periodicals archive. Pablo Suárez-Mansilla and Ventsislav Ikoff -- 21. Transnational cinema memory: Latin American womenremembering cinema-going across borders. Dalila Missero.

Additional Edition: ISBN 9783031387883

Language: English

DOI: 10.1007/978-3-031-38789-0