The Routledge Companion to New Cinema History

Cover
Half Title
Title Page
Copyright Page
Dedication
Contents
List of figures
List of tables
List of contributors
Acknowledgments
Introduction: the scope of new cinema history
PART I: Reflections and comments
	Introduction
	1 Connections, intermediality, and the anti-archive: a conversation with Robert C. Allen
	2 Film history, cultural memory, and the experience of cinema: a conversation with Annette Kuhn
	3 How I became a new cinema historian
	4 The subject of history and the clutter of phenomena
	5 The new nontheatrical cinema history?
PART II: Challenges and opportunities
	Introduction
	6 Reading newspapers and writing American silent cinema history
	7 Arclights and zoom lenses: searching for influential exhibitors in film history’s big data
	8 Comparing historical cinema cultures: reflections on new cinema history and comparison with a cross-national case study on Antwerp and Rotterdam
	9 The archeology of itinerant film exhibition: unpacking the Brinton Entertainment Company Collection
	10 Cinema history as social history: retrospect and prospect
PART III: Distribution and trade
	Introduction
	11 Early film stars in trade journals and newspapers: data-based research on global distribution and local exhibition
	12 The high stakes conflict between the Motion Picture Export Association and the Netherlands Cinema Association, 1945–1946
	13 “Perhaps everyone has forgotten just how pictures are shown to the public”: continuous performance and double billing in the 1930s
	14 “When in doubt, Showcase”: the rise and fall of United Artists’ revolutionary New York distribution pattern
	15 When distributors’ trash becomes exhibitors’ treasure: rethinking film success and failure
PART IV: Exhibition, space, and place
	Introduction
	16 Roll the credits: gender, geography, and the people’s history of cinema
	17 Three moments of cinema exhibition
	18 Currents of empire: transport, electricity, and early film exhibition in colonial Indonesia
	19 Remembering the first movie theat ers and early cinema exhibition in Quay, Smyrna, Turkey
	20 Exhibiting films in a predominantly Mexican American market: the case of Laredo, Texas, a small USA–Mexico border town, 1896–1960
PART V: Programming, popularity, and film
	Introduction
	21 Popular filmgoing in mid-1950s Milan: opening up the “black box”
	22 Distribution and exhibition in Warner Bros. Philadelphia Theatre s, 1935–1936
	23 To be continued…: seriality, cyclicality, and the new cinema history
	24 Kino-barons and noble minds: specifics of film exhibition beyond commercial entertainment
	25 When the history of moviegoing is a history of movie watching, then what about the films?
	26 The evergreens and mayflies of film history: the age distribution of films in exhibition
PART VI: Audiences, reception, and cinemagoing experiences
	Introduction
	27 Analyzing memories through video-interviews: a case study of post-war Italian cinemagoing
	28 Social sense and embodied sensibility: towards a historical phenomenology of filmgoing
	29 “It Pays to Plan ’em!”: the newspaper movie directory and the paternal logic of mass consumption
	30 Why young people still go to the movies: historical and contemporary cinemagoing audiences in Belgium
	31 For many but not for all: Italian film history and the circumstantial value of audience studies
Index