The Palgrave Handbook of Comparative New Cinema Histories

Erscheinungsjahr 2025
ISBN: 978-3-031-38791-3
Verlag: Palgrave Macmillan

Buch, Englisch, 482 Seiten, Format (B × H): 155 mm x 235 mm

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.

Chapter(s) “Chapter 8.” is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

Zielgruppe

Research

Autoren/Hrsg.

Treveri Gennari, Daniela

Van de Vijver, Lies

Ercole, Pierluigi

Fachgebiete

• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Filmwissenschaft, Fernsehen, Radio Filmgeschichte
• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Filmwissenschaft, Fernsehen, Radio Filmgattungen, Filmgenre
• Wirtschaftswissenschaften Wirtschaftssektoren & Branchen Medien-, Informations und Kommunikationswirtschaft Filmindustrie

Inhaltsverzeichnis

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 Debski, 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.

Über Autor(innen)

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.