AHoMERNetworkConference21-24June2017atRyersonUniversity

Toronto,Canada

RecentBooksbyPresentersMostbooksinthisbrochureareavailablethisweekattheRyerson

CampusStore(17GouldStcornerVictoria)

OpenWednesdaytoFriday,9:30amto4:30pm.

BooksattheCircuitsofCinemadisplayandotherCampusStoreitemsarediscounted10%forconferenceparticipants.

RemainingcopieswillbeonsaleoutsideLIB-072duringtheFridaymorningcoffeebreak,10:15to10:45am.

SincerethankstoGuyThomas,purchaser

WatchingFilms:New Perspectives onMovie-going, ExhibitionandReceptionEdited byAlbertMoranandKarinaAveyardPaper$28.50ISBN:9781841505114PublishedAugust2013Intellect Press, distributed inNorth America by UniversityofChicagoPressWhetherwestreamthemonour laptops, enjoy them intheaters, or slide them intoDVDplayers towatchonourTVs,moviesarepartofwhat

it means to be socially connected in the twenty-first century. Despite itssignificant role inour lives, theactofwatching films remainsanareaof socialactivitythatislittlestudied,andthus,littleunderstood.InWatching Films, an international cast of contributors correct this problemwithacomprehensiveinvestigationofmoviegoing,cinemaexhibition,andfilmreceptionaroundtheworld.Withafocusonthesocial,economic,andculturalfactors that influence how we watch and think about movies, this volumecenters its investigations on four areas of inquiry:Whowatches films? Underwhatcircumstances?Whatconsequencesandaffectsfollow?Andwhatdotheseacts of consumption mean? Responding to these questions, the contributorsprovidebothhistoricalperspectiveand fresh insightsabout theways inwhichnew viewing arrangements and technologies influence how films getwatchedeverywherefromCanadatoChinatoIreland.ContributionsbyDaniëlBiltereyst,DebVerhoeven,KathrynFuller-Seeley,MikeWalsh, Douglas Gomery, Jeffrey Klenotic, Kathleen Lotze and PhilippeMeers,ClaraPafort-Overduin,andmore.

LocatingtheMovingImage:NewApproachestoFilmandPlace

EditedbyJuliaHallamandLesRoberts

ISBN:978-0-253-01105-32013.Paper276pages

IndianaUniversityPress

Leadingscholarsinthefieldofgeo-spatialvisualstudiesexamine the social experienceof cinema and thedifferentways inwhich filmproductiondeveloped as a commercial enterprise, as a leisure activity, and asmodesofexpressionandcommunication.Topics include filmpractices in ruraland urban communities, development of cinema by amateur filmmakers, anduse of GIS to map film’s spatial development and cinema going as socialpractices.ContributionsbyRobertC.Allen,JeffreyKlenotic,DaniëlBiltereyst&PhilippeMeers,DebVerhoeven&ColinArrowsmith,SébastienCaquard&more.

ExplorationsinNewCinemaHistory:ApproachesandCaseStudies

EditedbyRichardMaltby,DaniëlBiltereystandPhilippeMeers

ISBN: 978-1-4051-9949-0 352 pages. 2011 Wiley-Blackwell

Explorations in New Cinema History brings together cutting-edge research by the leading scholars in the field to identify new approaches to writing and understanding the social and cultural history of cinema, focusing on cinema’s audiences, the experience of cinema, and the cinema as a site of social and cultural exchange. Contributions from Robert C. Allen, Jeffrey Klenotic, Annette Kuhn, John Sedwick, Kathryn Fuller-Seeley, Clara Pafort-Overduin, Lies van de Vijver, Deb Verhoeven, Paul Moore, Stephen Hughes & more.

AustralianFilmFestivals:Audience,PlaceandExhibitionCultureKirstenStevensISBN978-1-137-58130-3eBookandHardcover

• ExaminestheAustralianresponsetoandengagementwithfilmfestivalsbeyondmodelssetbyEuropeandNorthAmerica.

• Tracesthehistory,proliferation,andcurrentpracticeoffilmfestivalsinAustralia.

• ExploresAustralia’saudience-focusedpracticeinrelationtotheglobalfilmfestivaloperation.

Thisisthefirstbooktoofferanin-depthexaminationofthehistory,operation,andgrowthoffilmfestivalsasaculturalphenomenonwithinAustralia.TracingthebirthoffilmfestivalsinAustraliainthe1950sthroughtotheirpresentabundance,itaskswhyfilmfestivalshaveprosperedasaudience-drivenspectaclesthroughoutAustralia,whileneverdevelopingthesameindustryandmarketfocioftheirinternationalfellows.Drawingonoversixty-yearsofarchivalrecords,festivalcommentary,interviewswithfestivalinsidersandephemera,thisbookopensupalargelyunchartedhistoryoffilmcultureactivityinAustralia.

EnvisioningFreedom:CinemaandtheBuildingof

ModernBlackLife

CaraCaddoo

HARDCOVER$36.00•£28.95•€32.50

ISBN9780674368057304Pages:October2014

HarvardUniversityPress

EnvisioningFreedomexaminestheforgottenhistoryofearlyblackfilmexhibitionduringtheeraofmassmigrationandJimCrow.Byembracingthenewmediumofmovingpicturesattheturnofthetwentiethcentury,blackAmericansforgedacollective—iffraught—cultureoffreedom.

InCaraCaddoo’sperspective-changingstudy,AfricanAmericansemergeaspioneersofcinemafromthe1890stothe1920s.AcrosstheSouthandMidwest,movingpicturespresentedinchurches,lodges,andschoolsraisedmoneyandcreatedsharedsocialexperiencesforblackurbancommunities.Asmigrantsmovednorthward,boundforChicagoandNewYork,cinemamovedwiththem.Alongtheseroutes,ministersandreformers,preachingmessagesofracialuplift,usedmovingpicturesasanenticementtoattractfollowers.

Butasitgainedpopularity,blackcinemaalsobecamecontroversial.Facingalosingcompetitionwithmoviehouses,once-supportiveministersdenouncedtheevilsofthe“coloredtheater.”Onscreenimagessparkedargumentsoverblackidentityandthemeaningoffreedom.In1910,whenboxingchampionJackJohnsonbecametheworld’sfirstblackmoviestar,representationinfilmvaultedtothecenterofblackconcernsaboutracialprogress.Blackleadersdemandedself-representationandanendtocinematicmischaracterizationswhich,theycharged,violatedthecivilrightsofAfricanAmericans.In1915,theseideasbothledtothecreationofanindustrythatproduced“racefilms”byandforblackaudiencesandsparkedthefirstmassblackprotestmovementofthetwentiethcentury.

DanishbutNotLutheran:TheImpactofMormonismonDanishCulturalIdentity,1850-1920

JulieK.Allen

288Pages.2017

Hardback9781607815457-$36.00eBook9781607815464-$29.00

UniversityofUtahPress

The Danish-Mormon migration toUtah in the 19th century was,relativetopopulationsize,oneofthelargest European religious out-migrationsin history. Few knowabout the social and culturalramifications of their ancestors’conversiontoMormonism.Thisbooktellsthatexciting,complexstory.

In1849, afternearly a thousandyearsof state- controlled religion,Denmark’sfirst democratic constitution granted religious freedom. One yearlater, thearrival of three Mormon missionaries in Denmark and their rapid success atwinning converts to their faith caused a crisis in Danish society over theexistential question: "How could someonebeDanishbut not Lutheran?"Overthenexthalf-centurynearlythirtythousandDanesjoinedtheLDSChurch,morethan eighteen thousand of whom emigrated to join their fellowMormons inUtah.ThisvolumeexplorestherangeofDanishpublicreactionstoMormonismoveraseventy-yearperiod—fromtheologicalconcernsarticulatedbySørenandPeterChristianKierkegaardinthe1850stofear-mongeringaboutpolygamyandwhiteslaveryinsilentfilmsofthe1910sand1920s—andlooksatthepersonalhistoriesofconverts.

BorderlandFilms:AmericanCinema,Mexico

andCanadaduringtheProgressiveEra

DominiqueBrégent-Heald

448pagesHardcover2015978-0-8032-7673-4$60.00

UniversityofNebraskaPress

The concept of North Americanborderlands in the culturalimagination fluctuated greatlyduring the Progressive Era as itwas affected by similarlychanging concepts of identityandgeopoliticalissuesinfluencedbytheMexicanRevolutionandtheFirstWorldWar. Such shiftsbecameespeciallyevident in films setalong theMexicanandCanadian borders as filmmakers explored how these changes simultaneouslyrepresentedandinfluencedviewsofsocietyatlarge.BorderlandFilmsexaminestheintersectionofNorthAmericanborderlandsandculture as portrayed through early twentieth-century cinema. Drawing onhundreds of films, Dominique Brégent-Heald investigates the significance ofnational borders; the ever-changing concepts of race, gender, and enforcedboundaries; the racialized ideas of criminality that painted the borderlands asunsafe and in need of control; and the wars that showed how internationalconflict significantly influenced theUnited States’ relationswith its immediateneighbors.Borderland Filmsprovides a fresh perspective on Americancinematic,cultural,andpoliticalhistoryandonhowcinemacontributedtotheestablishmentofsocietalnarrativesintheearlytwentiethcentury.

FilmFestivals:History,Theory,Method,PracticeEditedbyMarijkedeValck,BrendanKredellandSkadiLoistPaperback: 9780415712477 $33.56 eBook: 9781315637167 $29.37 Routledge.

Thelastdecadehaswitnessedanexplosionofinterestinfilmfestivals,withthefieldgrowingtoapositionofprominencewithinthespaceofafewshortyears.FilmFestivals:History,Theory,Method,Practicerepresentsamajoradditiontotheliteratureonthistopic,offeringanauthoritativeandcomprehensiveintroductiontothearea.Withacombinationofchaptersspecificallyexamininghistory,theory,methodandpractice,itoffersaclearstructureandsystematicapproachforthestudyoffilmfestivals.

Offeringacollectionofessayswrittenbyaninternationalrangeofestablishedscholars,itdiscusseswell-knownfilmfestivalsinEurope,NorthAmericaandAsia,butequallydevotesattentiontothediverserangeofsmallerand/orspecializedeventsthattakeplacearoundtheglobe.Itprovidesessentialknowledgeontheoriginanddevelopmentoffilmfestivals,discussestheuseoftheorytostudyfestivals,exploresthemethodsofethnographicandarchivalresearch,andlookscloselyattheprofessionalpracticeofprogrammingandfilmfunding.Eachsection,moreover,isintroducedbytheeditors,andallchaptersincludeusefulsuggestionsforfurtherreading.

Thiswillbeanessentialtextbookforstudentsstudyingfilmfestivalsaspartoftheirfilm,mediaandculturalstudiescourses,aswellasastrongresearchtoolforscholarsthatwishtofamiliarizethemselveswiththisburgeoningfield.

HollywoodVault:FilmLibrariesbeforeHomeVideo

EricHoyt

Paperback,288pagesISBN:9780520282643

July2014$34.95,£27.95

UniversityofCaliforniaPress

Hollywood Vaultis the story of howthebusinessof film librariesemergedand evolved, spanning the silent erato the sale of feature libraries totelevision. Eric Hoyt argues that filmlibrariesbecamevaluablenotbecauseof the introduction of newtechnologies but because of theemergence and growth of newmarkets, and suggests that studyingthe history of film libraries leads toinsights about their role in thecontemporarydigitalmarketplace.The history begins in the mid-1910s, when the star system and otherdevelopmentsenabledamarketforoldfilmsthat featuredcurrentstars.Afterthe transition to filmswithsound, thereissuemarketdeclinedbut thestudiosused their libraries for the production of remakes and other derivatives. Theturning point in the history of studio libraries occurredduring themid to late1940s, when changes in American culture and an industry-wide recessionconvincedthestudiostoemploytheirlibrariesasprofitcentersthroughtheuseof theatrical reissues. In the1950s, intermediarydistributorsusedthegrowingmarket of television to harness libraries aggressively as foundations for cross-mediaexpansion,atrendthatcontinuestoday.Bythelate1960s,thetelevisionmarketplaceandtheexploitationoffilmlibrariesbecamesolucrativethattheypromptedconglomeratestoacquirethestudios.ThefirstbooktodiscussfilmlibrariesasanimportantandoftenunderestimatedpartofHollywoodhistory,HollywoodVaultpresentsafascinatingtrajectorythatincorporatescultural,legal,andindustrialhistory.

www.mediahistoryproject.org

A cooperative conservation and access project to digitize the printed history of motion pictures,

broadcasting and recorded sound.

A Leader in our Field

• 1.8 million pages scanned and online. Thousands of out-of-copyright books and magazines.

• Open access – free to read and download. • Powerful platforms for search (Lantern) and data mining

(Arclight). • Active social media presence. • User experience improvements currently underway,

thanks to support from the Mary Pickford Foundation.

The MHDL’s collections now include…

• American Cinematographer (1921-1942)

• Billboard (1894-1921) • Broadcasting (1931-1956)

• Business Screen (1938-1973) • Cine-Mundial (1916-1946) • Close Up (1927-1933)

• Exhibitors Herald (1917-1924) • The Film Daily (1918-1948)

• Harrison’s Reports (1935-1962)

• Independent Exhibitors Film Bulletin (1934-1963)

• International Photographer (1929-1941)

• International Projectionist (1933-1965)

• Journal of the Society of Motion Picture Engineers

(1916-1949) • The Educational Screen

(1922-1962) • Modern Screen (1930-1960)

• Motion Picture Daily (1931-1960)

• Motion Picture Herald (1931-1948)

• Motion Picture [Magazine] (1914-1941)

• Motion Picture News (1913-1930)

• Moving Picture World (1907-1927)

• National Board of Review Magazine (1929-1949)

• New York Clipper (1903-1920) • Photoplay (1914-1943) • Picture-Play Magazine

(1915-1938) • Radio Age (1942-1957)

• Radio Broadcast (1922-1930) • The Record Changer

(1943-1957) • Screenland (1920-1960) • Showmen’s Trade Review

(1939-1949) • Silver Screen (1930-1940) • Sponsor (1946-1964) • Swing (1945-1953)

• Talking Machine World (1906-1928)

• Variety (1905-1949) and Many, Many More!

Leading a Collaborative Model of Building Research Resources:

A 501c3 non-profit organization mediahist@gmail.com Founder and Director David Pierce Co-Director Eric Hoyt

HouseFull:IndianCinemaandtheActiveAudience.LAKSHMISRINIVAS312pages|16halftones,1table|6x9|©2016FieldworkEncountersandDiscoveriesPaper$37.50ISBN:9780226361567PublishedAugust2016Cloth$112.50ISBN:9780226361420PublishedAugust2016E-book$37.50AboutE-booksISBN:9780226361734PublishedAugust2016UniversityofChicagoPress.

Indiaisthelargestproducerandconsumeroffeaturefilmsintheworld,faroutstrippingHollywoodinthenumberofmoviesreleasedandticketssoldeveryyear.CinemaquitesimplydominatesIndianpopularculture,andhasformanydecadesexertedaninfluencethatextendsfromclothingtrendstomusictastestoeverydayconversations,whicharepepperedwithdialoguequotes.WithHouseFull,LakshmiSrinivastakesreadersdeepintothemoviegoingexperienceinIndia,showinguswhatit’sactuallyliketolineupforahotticketandseeamovieinajam-packedtheaterwithmorethanathousandseats.Buildingheraccountoncountlesstripstothecinemaandhundredsofhoursofconversationwithfilmaudiences,fans,andindustryinsiders,Srinivasbringsthemoviegoingexperiencetolife,revealingakindofaudiencethat,farfrompassivelyconsumingtheimagesonthescreen,isactivelyengagedwiththem.Peopletalk,shout,whistle,cheer;otherssingalong,mimic,ordance;attimesaudiencesevenbringsomeoftheritualpracticesofHinduworshipintothecinema,propitiatingthestarsonscreenwithincenseandcamphor.ThepictureSrinivaspaintsofIndianfilmgoingisimmersive,fascinating,anddeeplyempathetic,givingusanunprecedentedunderstandingoftheaudience’slivedexperience—anaspectofIndianfilmstudiesthathasbeenlargelyoverlooked.

FilmDistributionintheDigitalAge:PiratesandProfessionalsVirginiaCrispeBookISBN978-1-137-40661-3HardcoverISBN978-1-137-40660-6

FilmDistributionintheDigitalAgecriticallyexaminestheevolutionofthelandscapeoffilmdistributioninrecentyears.Indoingso,itarguesthattheinterlockingecosystem(s)ofmediadisseminationmustbeconsideredholisticallyandculturallyifwearetotrulyunderstandthetransnationalflowsofculturaltexts.

BesidestheScreen:MovingImagesthroughDistribution,

PromotionandCuration

EditedbyVirginiaCrispandGabrielMenottiGonring

eBookISBN978-1-137-47102-4HardcoverISBN978-1-137-47101-7SoftcoverISBN978-1-349-50082-6

Newmediatechnologiesimpactcinemawellbeyondthescreen.Thisvolume

speculatesaboutthechangesinmodesofaccessing,distributing,storingand

promotingmovingimagesandhowtheymightaffectcinematographic

experience,economyandhistoriography.

BirthofanIndustry:BlackfaceMinstrelsyandtheRiseofAmericanAnimationNicholasSammond2015.400pages.Cloth:$94.95-78-0-8223-5840-4Paperback:$26.95-978-0-8223-5852-7DukeUniversityPress

InBirth of an Industry, Nicholas Sammond describes how popular earlyAmericancartooncharacterswerederivedfromblackfaceminstrelsy.Hechartsthe industrialization of animation in the early twentieth century, itsrepresentation in the cartoons themselves, and how important blackfaceminstrels were to that performance, standing in for the frustrations ofanimation workers. Cherished cartoon characters, such asMickeyMouse andFelixtheCat,wereconceivedanddevelopedusingblackfaceminstrelsy'svisualandperformativeconventions:thesecharactersarenotlikeminstrels;theyareminstrels. They play out the social, cultural, political, and racial anxieties anddesiresthatlinkracetothelaboringbody,justasliveminstrelshowperformersdid.Carefullyexamininghowearlyanimationhelpedtonaturalizevirulentracialformations,Sammondexploreshowcartoonsusedlaughterandsentimentalitytomake those stereotypes seem not only less cruel, but actually pleasurable.Although the visible links between cartoon characters and the minstrel stagefaded long ago, Sammond shows how important those links are to thinkingabout animation then and now, and about how cartoons continue to help toilluminatethecentralplaceofraceinAmericanculturalandsociallife.

MakingCinelandia:AmericanFilmsand

MexicanFilmCulturebeforetheGoldenAge

LauraIsabelSerna

2014.336Pages.

Cloth:$94.95-978-0-8223-5641-7

Paperback:$26.95-978-0-8223-5653-0

DukeUniversityPress

Inthe1920s,asAmericanfilmscametodominateMexico'scinemas,manyofitsculturalandpoliticalelitesfearedthatthis"Yanquiinvasion"wouldturnMexicointo a cultural vassal of the United States. InMaking Cinelandia, Laura IsabelSerna contends that Hollywood films were not simply tools of culturalimperialism. Instead, they offered Mexicans on both sides of the border animaginative and crucial means of participating in global modernity, even asthese films and their producers and distributors frequently displayed anti-Mexican bias. Before the Golden Age ofMexican cinema,Mexican audiencesusedtheirencounterswithAmericanfilmstoconstructanational filmculture.Drawingonextensivearchivalresearch,Sernaexploresthepopularexperienceofcinemagoingfromtheperspectiveofexhibitors,cinemaworkers,journalists,censors, and fans, showing how Mexican audiences actively engaged withAmericanfilmstoidentifymoredeeplywithMexico.

AmericanShowman:Samuel‘Roxy’RothaphelandtheBirthoftheEntertainmentIndustryRossMelnick2012.576pages.ISBN:9780231159050Paperback$32.00£26.95ISBN:9780231159043Hardcover$95.00£79.95ISBN:9780231504256E-book$31.99£26.95ColumbiaUniversityPress

Samuel "Roxy" Rothafel (1882–1936) built an influential and prolific career asfilm exhibitor, stage producer, radio broadcaster, musical arranger, theatermanager,warpropagandist,andinternationalcelebrity.Hehelpedengineertheintegrationoffilm,music,andliveperformanceinsilentfilmexhibition;scoredearlyFoxMovietonefilmssuchasSunrise(1927);pioneeredtheconvergenceoffilm,broadcasting,andmusicpublishingandrecordinginthe1920s;andhelpedmovies and moviegoing become the dominant form of mass entertainmentbetweentheworldwars.The first book devoted to Rothafel's multifaceted career,AmericanShowmanexamines his role as the key purveyor of a new film exhibitionaestheticthatappropriatedlegitimatetheater,opera,ballet,andclassicalmusicto attract multi-class audiences. Roxy scored motion pictures, producedenormous stage shows, managedmany of New York's most important moviehouses, directed and/or edited propaganda films for theAmericanwar effort,produced short and feature-length films, exhibited foreign, documentary,independent,andavant-gardemotionpictures,andexpandedtheconceptionofmainstream, commercial cinema.Hewas alsooneof the chief creatorsof theradiovarietyprogram,pioneeringradiobroadcasting,promotions,andtours.

TheMultilingualScreen:

NewReflectionsonCinemaandLinguisticDifference

EditedbyTijanaMamula

andLisaPatti

2016.392Pages.ISBN:978-1501302862

Bloomsbury.

The Multilingual Screenis the first edited volume to offer a wide-rangingexplorationoftheplaceofmultilingualismincinema, investigatingtheways inwhich linguistic difference andexchangehave shaped, and continue to shape,themedium'shistory.Movingacrossavastarrayofgeographical,historical,andtheoreticalcontexts-fromJapanesecolonialfilmmakingtotheFrenchNewWaveto contemporary artists' moving image-the essays collected here address theaesthetic, political, and industrial significance of multilingualism in filmproduction and reception. In grouping these works together,TheMultilingualScreendiscerns and emphasizes the areas of study most crucial to forging arenewed understanding of the relationship between cinema and languagediversity. In particular, it reassesses the methodologies and frameworks thathave influenced the studyof filmicmultilingualism topropose that its force isalso, and perhaps counterintuitively, a silent one. While most studies of thesubject have explored linguistic difference as a largely audible phenomenon-manifested through polyglot dialogues, or through the translation ofmonolingual dialogues for international audiences-TheMultilingualScreentracessomeofitsunheardhistories,contributingtoanewfieldofinquirybasedonanattentivenesstomultilingualism'sworkbeyondthesoundtrack.

HollywoodandtheLawEditedbyPaulMcDonald,EmilyCarman,EricHoytandPhilipDrake2015.288pages.ISBN-13:978-1844574773

BritishFilmInstitute.

SincetheearliestdaysofcinemathelawhasinfluencedtheconditionsinwhichHollywood films are made, sold, circulated or presented – from the talentcontracts that enable a film to go into production, to the copyright laws thatgovern its distribution and the censorship laws that may block exhibition.Equally,HollywoodhasleftitsownimpressionontheAmericanlegalsystembylobbyingtoexpandthedurationofcopyright,providingahighlyvisiblestageforcontract disputes and representing the legal system on screen.In this comprehensive collection, international experts offer chapters on keytopics, including copyright, trademark, piracy, antitrust, censorship,international exhibition, contracts, labour and tax. Drawing on historical andcontemporary case studies, Hollywood and the Law provides readers with awide range of perspectives on how legal frameworks shape the culture andcommerceofpopularfilm.

Verdun:LeCinéma,L’Événement

ISBN978-2365838429

ÉditionsNouveauMonde

Cet ouvrage amène le lecteur sur lechampdes usages cinématographiquesde l'Histoire. Écriture filmique, lecinéma de la bataille de Verdun a prisforme dès l’affrontement de 1916 –année des premières autorisations detournage de l’Armée française sur lefront. Les premières images animéessontdoncissuesdesfilmsmilitaires.Avec la fin de la Grande Guerre, lecinéma de fiction prend le relai duServiceCinématographiquedel’Armée,ouvrant un nouveau chapitre.DansVerdun tel que le poilu l’avécu(1927),Le Film du poilu(1928) oul’imposantVerdun visionsd’histoire(1928), la bataille s’exposealors dans les récits filmés, mêlantarchivesetdocumentsdefiction.L’auteur met ainsi en évidence la rencontre problématique entre histoireofficieuse et officielle, témoignage et mythe, récit factuel et événementmémoriel.S’appuyantsurlesthèsesdeGeorgesDuby,PaulRicœurouMicheldeCerteau, il fait la lumière sur ces productions filmiques des années 1920jusqu’au début du XXIesiècle, chez Léon Poirier, Abel Gance, Jean Renoir,BertrandTavernierouYvesBoissetnotamment.En2016,centansaprès ledébutdeshostilitésdans lesHautsdeMeuse,alorsquel’événementsembleavoirdésertélesécransdecinéma,Verdunressurgitaugré d’un dialogue de film… Signe que la bataille, et son inscription dansl’imaginairecinématographiquefrançais,n’apeut-êtrepastoutàfaitcomblélestranchéesdelamémoire.

CinemaBeyondtheCity:Small-town&RuralFilmCultureinEurope.

EditedbyJudithThissen&ClememsZimmermann

Spanningmorethanacenturyoffilmexhibitionfromtheearlytwentieth-centurytothepresentday,CinemaBeyondtheCityisthefirstbooktoexaminetherolethatmoviegoinghasplayedintheEuropeancountryside.

Hardcover:978-1-844-5784-67eBook:978-1-844-5784-81

WithcontributionsbyKarinaAveyard,DanielBiltereystandLiesVandeVijver,JohnCaughie,KristianFeigelson,DörtheGruttmann,StuartHanson,ÅsaJernuddandMatsLundmark,MatthewJones,MélisandeLeventopoulos,GunterMahlerwein,CorinneMarache,ThunnisvanOort,TimSnelson,JudithThissen,YvonneZimmermann.Spanningmorethanacenturyoffilmexhibitionfromtheearlytwentieth-centurytothepresentday,CinemaBeyondtheCityexaminestherolethatmovie-goinghasplayedinsmall-townandruralcommunitiesacrossEurope.Inchapterswrittenbyleadingscholarsandyoungacademics,interdisciplinaryresearchisusedtoaddresskeyquestionsaboutaccess,economicviability,audiencebehaviour,filmprogrammingandtheculturalflowsbetweencitiesandhinterlands,inawiderangeofregionalstudiesandinnovativemethodologicalapproaches.Thecollectionisofinteresttohistoriansoffilm,urban/ruralstudiesandculturalgeography.