Between November 2014 and December 2015, we collaborated on building a 3D visualisation of Cinema Parisien, one of the first permanent cinema theatres in Amsterdam, established in 1910 by cinema owner and distributor Jean Desmet (1875-1956). The project aimed to investigate the affordances of 3D modelling for presenting digital cinema heritage in a comprehensive, evocative form. In addition, it explored the opportunities of 3D visualisation as a research tool for studying the history of cinema. In this presentation, we will demonstrate the final version of the model, explain the research and building process, and reflect on the relevance of 3D visualisation as a tool for the history of cinema-going.
The interdisciplinary project is situated at the intersection of history and film studies. It proposes to explore the heuristic potential of the cross-disciplinary spatial turn by studying the cinema culture in the multi-ethnic city of Warsaw between the emergence of this form of leisure at the turn of the 20th cen-tury and its destruction in the Second World War and the ravages of the Holocaust.
London’s Silent Cinemas explores the history of cinema exhibition in London from the emergence of permanent film venues in 1906 to the end of the silent film era around 1930.
This follow-up project is inspired by the New Cinema History perspective within film and media studies, whereby researchers concentrate upon the social embedding and the lived experiences of cinemagoing.
The main goal of the empirical research “Cinema Located. Place, space and experience of cinema in Ghent (1982-2012)” is to understand the social experience of screen culture from the emergence of the multiplex in Ghent in 1982 to the absorption of film in digital culture in the present day. From a theoretical point of view, the research will focus on defining place as a spatial site of cinema, and space as a constructed social site of cinemagoing. The multiplex in Ghent will serve as a microhistory to exemplify the experiences of fundamental changes in the history of film ever since the coming of sound. The research will contain a structural analysis of the film exhibition scene (using archival material on geographical locations and policy), a programming research (describing the supply and popularity of films) and an oral history research on the experience of moviegoing to define the social in a post-moviegoing era and more specifically can I determine the nature of the eventfulness?
Current exploratory research into the soft-erotic cinema Leopold in Ghent (1919-1981) uncovered the missing history of erotic film exhibition in Belgium.
This research examines local film culture based on the analysis of actual attendance and revenue figures from the major first run cinema of Ghent, the Capitole, between 1953 and 1971 as a Belgian case study for the cinema culture descending into crisis.
Film culture today is the result of a historical process in which movie theatres and film, through economical and ideological lines, became prominent parts of the cultural and social life. This media historic research project focuses on the interaction between the pilarization, the commercial imperative and the concrete film experience. The project works on several crucial items: the exploitation of the movie and image industry vs. the experience, commercial vs. ideological imperatives, top-down vs. bottom-up forces, publicvs. private space and media experience.
Cinematic Brno research project focuses on a local film culture in the second largest city of the Czech Republic, Brno, in the period of 1918-1945. At the core of the project stands the institution of movie theatre as a point of intersection of films and its audiences, but also as a city cultural institution. Brno movie theaters we consider as on the one hand a display windows of cinema market, on the other as a mirrors of audience preferences and site importantly influencing film experience, to reveal local exhibition strategies (how do local entrepreneurs “handled” with distribution offer, etc.) and the role which movie theatre and film played in the everyday life of Brno citizens. To explore Brno film culture is a challenge in many ways, mainly in the sense of rethinking the main aspects of film culture from the perspective of tension between the centre (Prague capital) and region (Brno), citizen-spectator majorities (Czechs) and minorities (strong German minority), hierarchies of distribution circuits, etc.
The project was a Creative Economy Knowledge Exchange partnership between Charlotte Crofts (University of the West of England, Bristol), Jo Reid (Calvium / AppFurnace) and Peter Insole (Bristol City Council / Know Your Place) to develop a platform called City Strata which we prototyped through the Cinemapping Layer. The subject of the research was to test the technical, creative and aesthetic challenges of drawing data from a GIS database to a mobile app so that historic data could be accessed in the field, aiming to build a platform that could be used to develop any cultural heritage layer. We tested this through the Cinemapping prototype which draws from a separate historic cinemas layer from within the Know Your Place map, BCC’s GIS database of the historic environment record.