Pub Date : 2018-06-28DOI: 10.18146/2213-7653.2018.339
K. Lotze
This article investigates the introduction of the first multiplex in Antwerp, Belgium. Within Europe, Belgium has traditionally been a leader in multiplex developments. Despite Antwerp’s powerful position in terms of national film exhibition and distribution, the city’s first multiplex arrived relatively late. By investigating the struggles of two major exhibitors in the late 1980s and early 1990s, this case of Antwerp connects to findings for other countries (particularly the UK and the US) concerning the effect of multiplexes on local exhibition structures and cinemagoing practices. In addition, it demonstrates how the specific time and location of the introduction of the city’s first multiplex were dictated by the particularities of the local exhibition market, including its structure, its economic and political key players and its integration into the city’s urban infrastructure.
{"title":"Bringing the Multiplex to Antwerp: A Battle of Two Giants","authors":"K. Lotze","doi":"10.18146/2213-7653.2018.339","DOIUrl":"https://doi.org/10.18146/2213-7653.2018.339","url":null,"abstract":"This article investigates the introduction of the first multiplex in Antwerp, Belgium. Within Europe, Belgium has traditionally been a leader in multiplex developments. Despite Antwerp’s powerful position in terms of national film exhibition and distribution, the city’s first multiplex arrived relatively late. By investigating the struggles of two major exhibitors in the late 1980s and early 1990s, this case of Antwerp connects to findings for other countries (particularly the UK and the US) concerning the effect of multiplexes on local exhibition structures and cinemagoing practices. In addition, it demonstrates how the specific time and location of the introduction of the city’s first multiplex were dictated by the particularities of the local exhibition market, including its structure, its economic and political key players and its integration into the city’s urban infrastructure.","PeriodicalId":187553,"journal":{"name":"TMG Journal for Media History","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114809526","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In a growing interest in spatial visualisation of historical data emphasized within the field of the new cinema history, identifying the methodologies, their benefits as well as obstacles, is crucial for the development of optimal approaches to the research of the past of the local film culture. The main goal of this paper is to introduce several possibilities of treatment of historical data in a geospatial context. On the case study on the local cinema history and culture in Brno, the Czech Republic, during the 1930s, this paper proposes methodologies of visualisation and analysis of historical data transferred to the spatial context, identifies the challenges of visualisation of ambiguous qualitative data and introduces the treatment of temporal dimension of data within geographical space. This paper aspires to become a contribution to growing field of spatial approaches to cinema history. It proposes several methodologies of how to visualize, analyse and understand historical data in spatial-temporal context.
{"title":"Approaches to Spatial Analysis in a Local Cinema History Research","authors":"Terézia Porubčanská","doi":"10.18146/TMG21338","DOIUrl":"https://doi.org/10.18146/TMG21338","url":null,"abstract":"In a growing interest in spatial visualisation of historical data emphasized within the field of the new cinema history, identifying the methodologies, their benefits as well as obstacles, is crucial for the development of optimal approaches to the research of the past of the local film culture. The main goal of this paper is to introduce several possibilities of treatment of historical data in a geospatial context. On the case study on the local cinema history and culture in Brno, the Czech Republic, during the 1930s, this paper proposes methodologies of visualisation and analysis of historical data transferred to the spatial context, identifies the challenges of visualisation of ambiguous qualitative data and introduces the treatment of temporal dimension of data within geographical space. This paper aspires to become a contribution to growing field of spatial approaches to cinema history. It proposes several methodologies of how to visualize, analyse and understand historical data in spatial-temporal context.","PeriodicalId":187553,"journal":{"name":"TMG Journal for Media History","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117212415","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-28DOI: 10.18146/2213-7653.2018.340
C. Pafort-Overduin, John Sedgwick, Lies Van de Vijver
For this study we have adopted a comparative approach to better understand the regularities and differences of cinema markets and cultures. Our subject is the film preferences and choices of audiences in the cities of Ghent (Belgium), Utrecht (Netherlands) and Bolton (United Kingdom) in 1934 and 1935. Saturday, January 5th, 1935 serves as a pivotal date and the starting point for analysis of the film programming data of these three cities. Our findings show that by adopting a comparative approach it is possible to detect ‘unique’ titles that reflect the peculiarities of the local film culture. The data confirms that audiences in Bolton, Ghent, and Utrecht were attracted strongly to films originating in their own or neighbouring countries, particularly if they contained elements of song and dance.
{"title":"Identifying Cinema Cultures and Audience Preferences","authors":"C. Pafort-Overduin, John Sedgwick, Lies Van de Vijver","doi":"10.18146/2213-7653.2018.340","DOIUrl":"https://doi.org/10.18146/2213-7653.2018.340","url":null,"abstract":"For this study we have adopted a comparative approach to better understand the regularities and differences of cinema markets and cultures. Our subject is the film preferences and choices of audiences in the cities of Ghent (Belgium), Utrecht (Netherlands) and Bolton (United Kingdom) in 1934 and 1935. Saturday, January 5th, 1935 serves as a pivotal date and the starting point for analysis of the film programming data of these three cities. Our findings show that by adopting a comparative approach it is possible to detect ‘unique’ titles that reflect the peculiarities of the local film culture. The data confirms that audiences in Bolton, Ghent, and Utrecht were attracted strongly to films originating in their own or neighbouring countries, particularly if they contained elements of song and dance.","PeriodicalId":187553,"journal":{"name":"TMG Journal for Media History","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130817880","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-28DOI: 10.18146/2213-7653.2018.336
J. Thissen, A. V. Velden
In respect to the Cinema Context database, Karel Dibbets argued that basic data about the Who, What, Where and When of film exhibition and distribution represent the genes within the DNA of film culture. Building upon this imaginative use of the DNA-metaphor, this article seeks to develop the idea that the Cinema Context model contains only one of the two helixes of film culture’s DNA. In biochemistry, double helix is the term used to describe the structure of DNA, which consists of two spiral chains. The question is: what exactly constitutes the second helix of film culture? And what are the implications of the double helix structure for New Cinema Historiography? We argue that a wide range of data about audience practices and their everyday lives (from statistics about religious affiliation and population density to personal memories about cinemagoing) form the building blocks of the second helix and that these data need to be studied in interrelationship with each other. To bring focus into such research, we propose to use the concept of milieu as a heuristic tool and we explore its potential with a case study about moviegoing practices among Dutch Orthodox Protestants (Gereformeerden) in the Netherlands in the immediate post-war era (1945–early 1960s).
{"title":"Op zoek naar de tweede helix","authors":"J. Thissen, A. V. Velden","doi":"10.18146/2213-7653.2018.336","DOIUrl":"https://doi.org/10.18146/2213-7653.2018.336","url":null,"abstract":"In respect to the Cinema Context database, Karel Dibbets argued that basic data about the Who, What, Where and When of film exhibition and distribution represent the genes within the DNA of film culture. Building upon this imaginative use of the DNA-metaphor, this article seeks to develop the idea that the Cinema Context model contains only one of the two helixes of film culture’s DNA. In biochemistry, double helix is the term used to describe the structure of DNA, which consists of two spiral chains. The question is: what exactly constitutes the second helix of film culture? And what are the implications of the double helix structure for New Cinema Historiography? We argue that a wide range of data about audience practices and their everyday lives (from statistics about religious affiliation and population density to personal memories about cinemagoing) form the building blocks of the second helix and that these data need to be studied in interrelationship with each other. To bring focus into such research, we propose to use the concept of milieu as a heuristic tool and we explore its potential with a case study about moviegoing practices among Dutch Orthodox Protestants (Gereformeerden) in the Netherlands in the immediate post-war era (1945–early 1960s).","PeriodicalId":187553,"journal":{"name":"TMG Journal for Media History","volume":"28 2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132725360","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Images of Occupation in Dutch Film","authors":"C.L.E. Vos","doi":"10.18146/2213-7653.2018.343","DOIUrl":"https://doi.org/10.18146/2213-7653.2018.343","url":null,"abstract":"Review of: Wendy Burke. Images of Occupation in Dutch Film. Memory, Myth and the Cultural Legacy of War. Amsterdam University Press, 2017, 262 pp.","PeriodicalId":187553,"journal":{"name":"TMG Journal for Media History","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128060546","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-28DOI: 10.18146/2213-7653.2018.344
Hubertus Wijfjes
Review of: Jesper Verhoef. Opzien tegen modernisering. Denkbeelden over Amerika en Nederlandse identiteit in het publieke debat over media 1919-1989. Eburon, 2017, 260 pp.
{"title":"Digitale greep op media in het historische moderniseringsdebat","authors":"Hubertus Wijfjes","doi":"10.18146/2213-7653.2018.344","DOIUrl":"https://doi.org/10.18146/2213-7653.2018.344","url":null,"abstract":"Review of: Jesper Verhoef. Opzien tegen modernisering. Denkbeelden over Amerika en Nederlandse identiteit in het publieke debat over media 1919-1989. Eburon, 2017, 260 pp.","PeriodicalId":187553,"journal":{"name":"TMG Journal for Media History","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134295783","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-28DOI: 10.18146/2213-7653.2018.335
Clara Pafort-Overduin, Thunnis van Oort
Editorial.
社论。
{"title":"New Cinema History in de Lage Landen en verder","authors":"Clara Pafort-Overduin, Thunnis van Oort","doi":"10.18146/2213-7653.2018.335","DOIUrl":"https://doi.org/10.18146/2213-7653.2018.335","url":null,"abstract":"<jats:p xml:lang=\"en\">Editorial.</jats:p>","PeriodicalId":187553,"journal":{"name":"TMG Journal for Media History","volume":"63 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126645302","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-28DOI: 10.18146/2213-7653.2018.341
Thunnis Van Oort
Review of: Auke van der Woud. De nieuwe mens. De culturele revolutie in Nederland rond 1900, Prometheus – Bert Bakker, 2015, 352 pp.
评论:Auke van der Woud。新人类。1900年左右荷兰的文化大革命，普罗米修斯-伯特·巴克，2015年，352页。
{"title":"De nieuwe mens. De culturele revolutie in Nederland rond 1900","authors":"Thunnis Van Oort","doi":"10.18146/2213-7653.2018.341","DOIUrl":"https://doi.org/10.18146/2213-7653.2018.341","url":null,"abstract":"Review of: Auke van der Woud. De nieuwe mens. De culturele revolutie in Nederland rond 1900, Prometheus – Bert Bakker, 2015, 352 pp.","PeriodicalId":187553,"journal":{"name":"TMG Journal for Media History","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129211566","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2015-02-07DOI: 10.18146/2213-7653.2018.346
K. Dibbets
De Nederlandse filmcultuur is altijd een buitenbeentje geweest in Europa. Je hoeft daarvoor niet eens te wijzen op het geringe aantal films van Nederlandse makelij dat jaarlijks in de bioscoop verschijnt. Een betere maatstaf is het bioscoopbezoek: Nederlanders gaan aanmerkelijk minder naar de film dan andere Europeanen. Overal in de wereld draaien dezelfde films, alleen in Nederland komt er minder publiek op af. Er staan hier naar verhouding ook minder bioscopen dan elders in Europa. Nederland komt in alle statistieken steeds op de laatste plaats. Dat onderscheid heeft altijd bestaan voor zover we weten. Het zegt iets over Nederland. Direct over de grens met België en Duitsland begint een andere filmcultuur met meer hartstocht en een grotere intensiteit.
{"title":"Het taboe van de Nederlandse filmcultuur: Neutraal in een verzuild land","authors":"K. Dibbets","doi":"10.18146/2213-7653.2018.346","DOIUrl":"https://doi.org/10.18146/2213-7653.2018.346","url":null,"abstract":"De Nederlandse filmcultuur is altijd een buitenbeentje geweest in Europa. Je hoeft daarvoor niet eens te wijzen op het geringe aantal films van Nederlandse makelij dat jaarlijks in de bioscoop verschijnt. Een betere maatstaf is het bioscoopbezoek: Nederlanders gaan aanmerkelijk minder naar de film dan andere Europeanen. Overal in de wereld draaien dezelfde films, alleen in Nederland komt er minder publiek op af. Er staan hier naar verhouding ook minder bioscopen dan elders in Europa. Nederland komt in alle statistieken steeds op de laatste plaats. Dat onderscheid heeft altijd bestaan voor zover we weten. Het zegt iets over Nederland. Direct over de grens met België en Duitsland begint een andere filmcultuur met meer hartstocht en een grotere intensiteit.","PeriodicalId":187553,"journal":{"name":"TMG Journal for Media History","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131586322","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Geruchtmakende televisieprogramma's — misschien wel vooral degene die niet worden uitgezonden - leren ons veel over de op dat moment heersende cultuur. Een aflevering van Vara's actualiteitenrubriek ACHTER HET NIEUWS was in 1965 (en nog een keer in 1966) zo'n geruchtmakend televisieprogramma — dat inderdaad nooit is uitgezonden. Het ging om een documentaire over de Van Imhoff-affaire, waarbij door dubieus optreden van Nederlanders tijdens de begindagenvan de Tweede Wereldoorlog in Nederlands-Indie vierhonderd Duitse geinterneerden op een zinkend schip om het leven kwamen. Tot nu toe is aan deze kwestie weinig aandacht besteed. Chris Vos neemt in dit artikel het voortouw.--The Vara, the war and the cover up. Why the Van Imhoff affair never made it to the television screen.Controversial television shows, especially those which are never broadcast, provide us with a great deal of insight into the prevailing culture at the time. One episode of ACHTER HET NIEUWS (BEHIND THE NEWS), a current affaire programme made by the progressive Vara broadcasting group, was so controversial that it never made it to the airwaves in 1965 - and once again failed to make the air in 1966. The problem was a documentary on the Van Imhoff affair, which concerned questionable Dutch activities in the Dutch East Indies during the beginning of World War II that resulted in 400 German detainees dying on a sinking ship. To this day little attention has been paid to this incident. In this article, Chris Vos takes the lead, reconstructing the uprising and the viewpoints of the parties involved.
有争议的电视节目——也许主要是那些没有播出的节目——教会了我们很多关于当时流行的文化。1965年(1966年)，瓦拉的时事节目《幕后新闻》(ACHTER HET NIEUWS)的一集就是这样一个臭名昭著的电视节目——事实上，它从未播出过。这是一部关于Van imhoff事件的纪录片，在第二次世界大战开始的几天里，荷兰人的可疑行为导致400名德国人在一艘正在下沉的船上丧生。到目前为止，人们对这个问题的关注很少。克里斯·沃斯在这篇文章中起了带头作用。瓦拉，战争和封面。为什么范·伊姆霍夫事件从来没有出现在电视屏幕上。有争议的电视节目，尤其是那些从未播出过的节目，让我们对当时盛行的文化有了深入的了解。由进步的瓦拉广播集团(progressive Vara broadcasting group)制作的热门节目《新闻背后的一集》(BEHIND THE NEWS)是如此有争议，以至于在1965年从未播出过电波，在1966年又一次未能播出。这个问题是一部关于范·伊姆霍夫事件的纪录片，讲述了二战开始时荷兰东印度群岛的可问问题的荷兰活动，导致400名德国囚犯死于一艘沉船。对这一事件给予了一点关注。在这篇文章中，克里斯·沃斯带头重建了起义和参与聚会的观点。
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