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.
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.
Mapping Movies is a digital discovery environment in which users explore changing landscapes of social and spatial history by investigating the grounded locations and movements of moving pictures. The site promotes spatial thinking and historical inquiry about the relations between media access, public infrastructure, social geography, cultural networks, economic development, community building and collective memory.
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.
In my dissertation, I try to explore and categorise the forms of how cinemagoing in the 1930s and 1940s is remembered by local eyewitnesses in the Saar region. This less urbanized region close to the border of France has been chosen as an important research field because of political issues, especially the election of 1935. After five, six and even seven decades, the social habit of cinemagoing still occupies an important place in the collective memory of elder people in rural communities.
This project addresses the gap in knowledge about the Italian cinema-going public of the 1940s and 1950s, for whom cinema was by far the most popular pastime.
We are interested in the memories of people who went to the cinema in 1960s Britain. This includes the films and stars they watched, the location of favourite cinemas, the rituals of going there, the people they went with and the character of the experience more generally. This was a time of significant social change and we believe that memories of cinema-going can shed light on questions about how and why the decade is remembered. This is true in terms of both cultual and social aspects of British life.
The cultures and everyday practices around cinemagoing and film fandom in Britain in the 1930s
Cultural history of movie-going with two specific focuses: female film experiences and Italian audiovisual media history and the Catholic Church.