HoMER Webinar

Speaker: Paul Moore (Ryerson University)

Title: ‘When did “Starts Friday!” start? The shift to standardized movie opening days in North America’.

Time: Monday 6 July, 5pm (UK time)

After registering, you will receive a confirmation email containing information about joining the meeting via Zoom.

The speaker will present a 20-minute paper, followed by discussion and Q&A.

Abstract

All contemporary moviegoers know movies start Fridays, including at least forty years of my own personal experience. But when, why and how did this shift to a standardized, national opening begin? In May 1973, Variety reported Fox was “trying to line up other majors to go along with a proposed shift from Wednesday to Friday openings.” Was this a catalyst? Was the shift regional? Gradual? First only for wide-release blockbusters? Did some studios or chains or exchange territories test alternatives? Why was Friday chosen, and what factor was behind the industry-wide adoption of “Starts Friday!” as a tagline for almost all films “in theatres everywhere!” My answers turn to newspaper databases, combined with trade discourse in Variety and other available sources (for these quarantined times!) I will present at least one early case study of a metropolitan region, of a wide release on a continental scale, and word search hits for publicity catch phrases. This surprisingly simple question, “When did Starts Friday start?” has no quick and easy answer, and yet it holds the foundation for any investigation of American movie marketing and distribution and a cornerstone shaping the experience of blockbusters as part of weekends and mass leisure.

 Bio

Paul Moore (psmoore@ryerson.ca) is Professor of Communication and Culture at Ryerson University. His media histories of cinema exhibition and newspaper distribution in North America have focused on the relation between audiences and publicity, appearing in Film History, Canadian Journal of Film Studies, and  The Moving Image. Recent work maps early transnational “circuits of cinema,” also theme of the 2017 International HoMER Conference, which he hosted in Toronto.

HoMER Webinar

The COVID-19 pandemic has interrupted the normal ways in which cinema historians share and disseminate their research. This webinar, organised in collaboration with the History of Moviegoing, Exhibition and Reception (HoMER) Network is designed for cinema historians to share their research and discuss current debates in the field.

These free events will take place via Zoom at 5pm (UK time) on the first Monday of each month. Speakers will present a 20-minute paper, followed by a discussion and Q&A session.

We welcome proposals from researchers at all career stages, and would particularly like to hear from postgraduates and early career researchers.

If you are interested in presenting at this webinar, or have any further questions, please contact sam.manning@qub.ac.uk or grace.e.stephenson@durham.ac.uk with a title and short proposal (200 words maximum).

HoMER 2020 Postponed

With great sadness, the HoMER 2020 organizing committee has decided to postpone this year’s conference. This decision is made in the light of increasing restrictions to international travel and the closing of educational institutions in Ireland in response to the COVID-19 crisis. We are very sorry for any inconvenience caused. We hope to run the conference next year in Maynooth but will be in touch again soon when we have had a chance to make more detailed plans.
In the meantime, we wish all the best to our colleagues, their friends and families and hope that you come through this crisis safely.

Registration Open for HoMER 2020: Integrating Traditions, 25-27 May 2020, Maynooth University, Ireland

Registration is now open for the HoMER Network’s 2020 conference, which will take place at Maynooth University, Co. Kildare, Ireland on 25-27 May 2020.

Keynote Speakers:

Professor Shelley Stamp (Film + Digital Media, University of California, Santa Cruz)

Professor Joao Luiz Vieira (Cinema and Audiovisual Studies, Universidade Federal Fluminese, Niterói) 

At HoMER 2019 in Nassau, the conference explored ways of developing a more theoretical and methodological grounding for New Cinema History research. Since emerging as a vibrant field of research in the early 2000s, New Cinema History has sought to distinguish itself from Film History by ‘shift[ing] its focus away from the content of films’, in order to examine cinema as a ‘site of social and cultural exchange’ (Maltby 2011: 3). However, in recent years there have been calls to reconsider the significance of the film itself within New Cinema History research. For the Homer 2020 conference INTEGRATING TRADITIONS, we would like to continue answering that call: as cinema historians, we have traditionally drawn on frameworks and methodologies found in fields such as Social Geography, Economics, and Psychology, but how do we integrate these approaches with those of Film History and Film Studies more broadly? Furthermore, in order to become ‘methodologically more mature’ as a discipline, we must also reflect on how we approach comparative research as an essential part of our studies (Biltereyst and Meers 2016: 25). Several empirical research projects have already used these methods within New Cinema History, comparing the cinema-going experience across cultural and geographical contexts; however, still lacking is the integration of productive methodologies from Film Studies.

The aim of HoMER 2020 is to investigate how the traditional approaches of Film Studies  – as well as those disciplines that have shaped NCH to date – can be productively integrated.

HoMER 2020 CfP – Maynooth University 25-27 May 2020 – EXTENDED DEADLINE

HoMER 2020 CfP, Dublin, 25–27 May 2020

Hosted by Maynooth University

CfP Integrating Traditions 

Extended deadline for proposals, 29 November 2019

Letters of acceptance/rejection, 8 January 2020

 

Keynote Speakers:

Professor Shelley Stamp (Film + Digital Media, University of California, Santa Cruz)

Professor Joao Luiz Vieira (Cinema and Audiovisual Studies, Universidade Federal Fluminese, Niterói) 

 

The HoMER Network invites submissions for 20-minute papers, as well as designated roundtables, panels, and workshops to be presented at the 2020 conference, which will take place at Maynooth University on 25-27 May 2020.

At HoMER 2019 in Nassau, the conference explored ways of developing a more theoretical and methodological grounding for New Cinema History research. Since emerging as a vibrant field of research in the early 2000s, New Cinema History has sought to distinguish itself from Film History by ‘shift[ing] its focus away from the content of films’, in order to examine cinema as a ‘site of social and cultural exchange’ (Maltby 2011: 3). However, in recent years there have been calls to reconsider the significance of the film itself within New Cinema History research. For the Homer 2020 conference INTEGRATING TRADITIONS, we would like to continue answering that call: as cinema historians, we have traditionally drawn on frameworks and methodologies found in fields such as Social Geography, Economics, and Psychology, but how do we integrate these approaches with those of Film History and Film Studies more broadly? Furthermore, in order to become ‘methodologically more mature’ as a discipline, we must also reflect on how we approach comparative research as an essential part of our studies (Biltereyst and Meers 2016: 25). Several empirical research projects have already used these methods within New Cinema History, comparing the cinema-going experience across cultural and geographical contexts; however, still lacking is the integration of productive methodologies from Film Studies. 

The aim of HoMER 2020 is to investigate how the traditional approaches of Film Studies  – as well as those disciplines that have shaped NCH to date – can be productively integrated. 

 

Possible topics and questions to explore might include (but are certainly not limited to):

 

  1. Film as text. What is the film’s appeal to audiences? When we investigate cinema’s popularity, how do we relate the film’s content to its performance at the box-office? The relationship between cinema memories, film text and social and geographical spaces.
  2. Genre and stardom and their relationship with programming and audiences. How can genre theory enhance our understanding of film reception and programming practices in specific cinemas?
  3. The changing role of gender, however defined, in distribution, exhibition and reception.
  4. Underexplored interdisciplinary possibilities or new historiographical paths. Are there potential connections with leisure or urban studies, for example? Can we use film as a source for investigating a historical period? Can we further engage approaches to the history of everyday life in our research? 
  5. The novelty in New Cinema History. In what does its (continuing)  novelty Iie? What are its methodologies and conceptual frameworks?

 

Presentations are welcome to critically explore the conference theme of INTEGRATING TRADITIONS through the interdisciplinary lens of academic Film and Cinema Studies. 

Since it was first established in 2004, the HoMER network has been instrumental in bringing together researchers working in the New Cinema History tradition and providing opportunities to share knowledge and exchange ideas. In keeping with this, the 2019 HoMER conference featured a series of discussion sessions on specific topics. In light of the positive feedback on these sessions, HoMER 2020 will also feature discussion sessions on each day of the conference. During these sessions, participants will be able to debate research questions and methodologies, with the aim of sharing practices of their research, as well as advancing and developing new ideas in NCH approaches. Last year the three themes were: The geography of cinema; Cinema memories and the archives; Defining contemporary cinema. 

Suggestions for new themes to discuss in HoMER 2020 are welcome.

The format will follow the successful one used last year: presentations of key areas (10 min) to the HoMER participants, followed by small group discussion (1 hour) on the key areas, and a final plenary discussion (20 min). Possible key areas to explore might include (but are certainly not limited to): Cinema and Memory; the Economics and Business of Film; Programming and Film Popularity; Paratextual Analysis; the Digital Challenge; Distribution of Films; Impact of Research to Non-academic Audiences; Publishing New Cinema History Research: Traditional Approaches and the Alternatives.

Abstracts of 250 to 300 words, plus 3 or 4 bibliographic entries, and a 50-word academic biography can be submitted via the HoMER 2020 Abstract Submission Form: https://docs.google.com/forms/d/e/1FAIpQLScDmHvICIqmjlAB6gCoBfJ_yWJpgfOApAqFq-IW2RXUTAriKw/viewform?usp=sf_link

We also invite submissions for poster proposals, particularly from postgrad students (at all levels) and postdoctoral researchers. Accepted posters will be on display for the duration of the conference. Poster proposals can be submitted via the HoMER 2020 Poster Proposal Form: https://docs.google.com/forms/d/e/1FAIpQLSdJMAH_oHY4hI1Tv1ImVu-Qmv4J–ZDWXb4u3XyBHKo3KMN8g/viewform?usp=sf_link

For any queries regarding submission, please contact conference co-ordinators, Clara Pafort-Overduin (c.pafort-overduin@uu.nl) and Daniela Treveri Gennari (dtreveri-gennari@brookes.ac.uk). 

 

 

Postgraduate conference accommodation support:

To help support postgraduate students that would like to travel to Maynooth for HoMER 2020, we have provisionally reserved a small number of single college rooms on campus.These single rooms have shared bathroom facilities and will be available to book for approximately €28 per night. As there are a limited number of rooms available, we would appreciate if you could indicate whether you would be potentially interested in availing of this accommodation option during the conference. To request a college room, please contact Sarah Culhane (Sarah.Culhane@mu.ie) by Friday 6th December 2019. We realise that this deadline falls before the date for the issue of acceptance/rejection letters, but your advance expression of interest will help us to plan accordingly ahead of time. Thanks for your co-operation.      

 

Programming Committee:

Clara Pafort Overduin

Daniela Treveri Gennari

Sarah Culhane

Denis Condon

Maya Nedyalkova

Åsa Jernudd

Karina Aveyard

Sam Manning

Kata Szita

Silvia Dibeltulo

 

Bahamas appeal

Hurricane Dorian has hit the northwestern Bahamas as a category 5 storm, specifically the Abacos Islands and Grand Bahamas, on Sunday 1 September, and moved slowly across the islands over the following days. It is reportedly the strongest storm worldwide this year and the strongest to have ever hit the Bahamas, with 185 mph winds. After our exceptional experience in the Bahamas earlier this summer, we thought you may want to show your support.

Here are some ways to donate and help people affected by the hurricane:

At the time of writing, the storm is only starting to move away from the area, so the extent of the damage and loss of life is only starting to emerge. Our thoughts are with the people of the Bahamas, and we will seek to communicate any requests from our colleagues there if other forms of support are wanted.

Anchoring New Cinema History

Upcoming HoMER Conference 26–28 June 2019

Hosted by The University of the Bahamas, Nassau

New Cinema History, as an approach focusing “on the circulation and consumption of film” and examining “cinema as a site of social and cultural exchange” (Richard Maltby, 2011) has turned out to be very productive. It brought together both young and veteran scholars who believed that it was more fruitful writing film history with an eye for the social, economic and geographical aspects of cinema cultures, than merely an art history of the moving image or a critical reading of films. At the last HoMER@NECS conference in Amsterdam, members of the panel ‘New Cinema History: What’s Next?’ called  for more theoretical and methodological grounding of our research. In the Homer 2019 conference Anchoring New Cinema History we would like to start answering that call.

The SPACES and PLACES Stream of the conference will aim to investigate the geography of cinema. The THEORIES AND METHODOLOGIES Stream will provide an opportunity to reflect on and discuss some key areas of research within the HoMER network, with the aim of suggesting new directions in the field and developing new theoretical and methodological approaches, or reintroducing and adapting existing approaches that proved to be useful.

The conference program will be published around the end of April 2019.

Support for young scholars

At the last HoMER General Meeting in Amsterdam we agreed that we would search for ways to support young colleagues or PhD students who wish to take part in the Homer conferences but have no financial support from their universities.  One of the solutions was the Gofundme website where one can set up a crowdfunding campaign which then could be endorsed by the Homer coordinators to the network. Two of our members actually set up a call at the website:

Eleonora Roaro:  https://www.gofundme.com/conference-in-nassau-the-bahamas

Sarah Kelley:  https://www.gofundme.com/presenting-at-homer-conference-2019-in-nassau

CfP HoMER Conference 2019 – Nassau: Anchoring Cinema History

HoMER 2019 CfP Conference 2019, Nassau, The Bahamas, 26–28 June 2019

Hosted by The University of the Bahamas

CfP – Anchoring New Cinema History

Deadline for proposals, 15 November 2018
Letters of acceptance/rejection, 1 December 2018

The HoMER Network invites submissions for general paper entries, as well as a designated roundtable, panels, and workshops to be presented at the 2019 conference, which will take place at The University of the Bahamas from 26-28 June 2019.

New Cinema History, as an approach focusing “on the circulation and consumption of film” and examining “cinema as a site of social and cultural exchange” (Richard Maltby, 2011) has turned out to be very productive. It brought together both young and veteran scholars who believed that it was more fruitful writing film history with an eye for the social, economic and geographical aspects of cinema cultures, than merely an art history of the moving image or a critical reading of films. At the last HoMER@NECS conference in Amsterdam, members of the panel ‘New Cinema History: What’s Next?’ called  for more theoretical and methodological grounding of our research. In the Homer 2019 conference Anchoring New Cinema History we would like to start answering that call. Presentations are welcome to critically explore the conference theme of Anchoring New Cinema History through the interdisciplinary lens of academic Film and Cinema Studies, Social Geography, Memory Studies and Economic History, etc.

Since its beginning the HoMER network has been instrumental in bringing together researchers working in the New Cinema History tradition, not just as a platform to present their work but also as place to meet colleagues to collaborate with. In the upcoming HoMER conference we propose to stress the network function of HoMER, both in welcoming young scholars as in creating interdisciplinary opportunities for collaborative work. The 2019 HoMER conference aims to exploit the established strong connections of people, and places the HoMER network can offer, in order to invite new and old members to engage in new collaborative research. This will be articulated in two main streams:

1. SPACES and PLACES – Connections and comparisons (either pre-constituted panels or individual papers)

The SPACES andPLACES Stream of the conference will aim to investigate the geography of cinema. This can be expressed both through the exploration of familiar and new spaces of cinemas, such as cinema theatres but also pop-up cinemas,  community cinemas, and virtual cinemas. It will also include both well researched geographical areas and new territories and locations, such as South and Central America, Africa, Central Asia and South-East Asia. These new uncharted territories will be of great value on their own to reconnoitre the position of different countries in relation to cinema practises. They will also provide connections and comparisons with existing body of work on Europe, America, Canada and Australia.

By looking at this extended geography of cinema, possible topics and questions to explore might include (but are certainly not limited to):

  1. Environment, space, and place

  2. Cinemas and urban transformations, transition and change

  3. Cinema practices, policies and external bodies (local authorities, communities, self regulating associations)

  4. Memories and topographical references

2. THEORIES AND METHODOLOGIES – (special discussion sessions and presentations)

The THEORIES AND METHODOLOGIES Stream of the HoMER conference will provide an opportunity to reflect on and discuss some key areas of research within the HoMER network, with the aim of suggesting new directions in the field and developing new theoretical and methodological approaches, or reintroducing and adapting existing approaches that proved to be useful. These key areas can be suggested by members when submitting a paper proposal (or just by emailing the HoMER Co-ordinators). A dedicated session of this stream will include:

Small group discussion (1 hour) on the key areas, followed by presentations (10 min) to the HoMER participants and a further discussion (20 min). Possible key areas to explore might include (but are certainly not limited to): Cinema and Memory; the Economics and business of film; Programming and film popularity; Paratextual analysis; the Digital challenge; Distribution and spreading of films; Impact of research to non-academic audiences.

Moreover, in a speed dating session, junior researchers will be given the opportunity to team up with experts to discuss their individual methodological and theoretical concerns. If you are interested in this (both juniors and experts), please email the Co-ordinators.

Submissions

Please send abstracts of 250 to 300 words, plus 3 or 4 bibliographic entries, and a 50-word academic biography to conference co-ordinators, Clara Pafort-Overduin (c.pafort-overduin@uu.nl) and Daniela Treveri Gennari (dtreveri-gennari@brookes.ac.uk).

Updated Information will be posted at: http://homernetwork.org/

Programming Committee:
  • Clara Pafort Overduin
  • Daniela Treveri Gennari
  • Monique Toppin
  • Jessica Leonora Whitehead
  • Mario Slugan
  • Talitha Ferraz
  • Maria Luna