DIGIFIL: Digital Film Listings

DIGIFIL aims to digitise and publish the Dutch “Filmladders” (the weekly listings of movie showtimes at local cinema theatres or other venues). The screenings constitute the focal point of film culture: they are the place where distributors, exhibitors and audiences meet. Collecting information about these encounters yields an invaluable resource for linguists, socio-economic historians and media scholars to study the ways in which cinema-going contributed to the formation of modern societies.

This project builds upon the digitization effort of the Royal Library (Koninklijke Bibliotheek, henceforth KB). Their current collection, available via Delpher, already contains an impressive set of digitized, segmented and enriched newspapers. The point of DIGIFIL is to improve digitization and enrichment of cultural agendas (mainly the Filmladders) embedded in the newspaper corpus. we use the available digitized materials as a starting point but refine and extend them wherever that is required, using existing tools developed by CLARIAH Work Package 3 (PICCL, TICCL, FROG).

The US Exhibition and Reception of Julien Bryan’s Documentaries for International Understanding, 1947-1985

I am currently researching the distribution, exhibition and reception of the educational documentaries of Julien Bryan (1899-1974) both in and outside the traditional US classroom. In the 1940s, 1950s and 1960s Bryan produced and directed a large number of films on peoples around the world for the US Coordinator of Inter-American Affairs (CI-AA) and for his own International Film Foundation (IFF). Enjoying wide distribution to classrooms, civic and religious organizations and libraries in the later part of the 20th century, Bryan’s films participated in an American post-World War II cultural formation in which screening and discussing educational film became a key vehicle in the forging of new internationalist identities.

Cinema Culture in Warsaw, 1895/6-1939: A Transnational Perspective

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.