From the early days of the cinema, Flanders boasted among the highest cinema attendance per capita on the continent, while their Dutch neighbors were about the least frequent moviegoers of all Europeans. The aim of the project is to map and explain this remarkable difference in the two neighbouring cinema cultures. Can we explain this disparity by how the cinema industry was organized, or by cultural differences, for instance in the different manifestations of ‘pillarization’ in
The project MEPAD (Mapping European Performing Arts Data) aims to set up an inventory of existing databases and research projects on film, theatre and music (1600-present), while also identifying key research and valorization partners. By doing this, it is intended to further develop the CREATE research agenda on the data-driven history of performing arts.
The CINEMAPS project aims to map cinema markets in the Netherlands and Flanders in the 1950s, 1960s and 1970s in a comparative study, combining a geospatial analysis of cinema density in both areas with data on pillarization, class and the organization and economics of the industry. As such, it will provide an answer to the core question of how the development of the cinema, as a specific cultural industry, interrelates with the social and cultural dimensions of modern public life in The Netherlands and Flanders.
My research explores the significant contribution of the cinema usherette to both the pleasure of cinema-going and the business of the cinema, primarily during the 1920s-1950s.
Film Reissues are an important but largely unexplored part of the studio-exhibition-reception mix. At various times reissues could account for 10%-plus of the U.S. box office and recent years have seen the annual recurring phenomenon of It’s A Wonderful Life and Casablanca.
Whole Buildings for That is an ongoing, collaborative project documenting narrative moviegoing experiences. It gathers together original essays and stories by a broad array of contributors, who each add to the thesis of cinema as an embodied experience in which the film itself is only one part. Addressing large-screen cinema experiences only, WBFT constructs a body of highly nuanced portraits that consider the contemporary and changing relationships between human bodies, image and size, memory, media, and built environments.
All contributors welcome. Contributors are given the open prompt to recall one particular moviegoing from their lives, focusing as best as possible on the context and circumstances of the event, as opposed to the content of the film. Submissions must revolve around a large-screen projection; a traditional cinema is not a requirement, but screenings on personal devices such as laptops, telephones, etc. will not be considered. Please send inquiries and submissions to jones.rachelelizabeth (at) gmail.com
This post-doctoral project seeks to do a comparative analysis about cases of reopened movie theaters and places that impacted the sociability and the urban life in Rio de Janeiro (Brazil), Brussels, Antwerp and Namur (Belgium). Our research is focused in four specific cases of Brazilian and Belgium cinemas: Cinecarioca Méier (Imperator) in Rio de Janeiro; Pathé Palace in Brussels; De Roma, in Antwerp; and Caméo in Namur.
The project is a follow-up to my previous research on the Czechoslovak cinema culture in the period 1945-1970, extending the research design to a comparison with two neighbouring socialist countries: GDR and Poland. The subject of the research deals with production (co-productions), distribution, local exhibition, and reception. A substantial part of the project focuses on co- productions as an example of an attempt to build up a transnational cinema network inside the Soviet bloc, as well as a case study on transfer of production practices.
Another section is devoted to the comparison of the national distribution systems and to the way the respective distribution had been influenced by the Soviets. The third part deals with a comparison of exhibition practices in the three cities of Brno, Leipzig and Poznań. Because of its methodological specificity and strenuousness, the history of reception is limited to:
1. the reception in Brno throughout the period,
2. a case study of the post-war film reception in Leipzig,
3. a comparison of the charts of the biggest hits in the three countries.
The Kinomatics Project analyses and visualises the international flow of films based on worldwide showtime data. The underlying project data describes every ‘showtime’ for all films in 48 countries – generating more than a million records each week. Based on this data the project explores the diffusion of cultural goods such as film through a geographic and economic focus.