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The Palgrave Handbook of Comparative New Cinema Histories

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Beschreibung

Produktdetails

Einband

Gebundene Ausgabe

Erscheinungsdatum

23.01.2024

Herausgeber

Daniela Treveri Gennari + weitere

Verlag

Springer

Seitenzahl

482

Maße (L/B/H)

24,1/16/3,3 cm

Gewicht

928 g

Auflage

2024

Sprache

Englisch

ISBN

978-3-031-38788-3

Beschreibung

Portrait

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.

Produktdetails

Einband

Gebundene Ausgabe

Erscheinungsdatum

23.01.2024

Herausgeber

Verlag

Springer

Seitenzahl

482

Maße (L/B/H)

24,1/16/3,3 cm

Gewicht

928 g

Auflage

2024

Sprache

Englisch

ISBN

978-3-031-38788-3

Herstelleradresse

Springer-Verlag GmbH
Tiergartenstr. 17
69121 Heidelberg
DE

Email: ProductSafety@springernature.com

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  • Produktbild: The Palgrave Handbook of Comparative New Cinema Histories
  • Produktbild: The Palgrave Handbook of Comparative New Cinema Histories
  • 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.