{"title":"Shot in Black and White:","authors":"Caetlin Benson-Allott","doi":"10.5749/j.ctv1c9hqbh.10","DOIUrl":"https://doi.org/10.5749/j.ctv1c9hqbh.10","url":null,"abstract":"","PeriodicalId":435008,"journal":{"name":"The Stuff of Spectatorship","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132627661","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 : 1900-01-01DOI: 10.1525/9780520971820-010
{"title":"Conclusion Expanding the Scene of the Screen","authors":"","doi":"10.1525/9780520971820-010","DOIUrl":"https://doi.org/10.1525/9780520971820-010","url":null,"abstract":"","PeriodicalId":435008,"journal":{"name":"The Stuff of Spectatorship","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121445028","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}
I’vebeendoing it for years, but I still do not understand why I—or anyone—would drink at the movies. My practice began shortly after I turned twenty-one, at the New Parkway Theater in Oakland, California, once known as the Parkway Speakeasy. There you could order beer and pizza while watching the big screen from the comfort of an old couch. The couches weren’t all that clean, but they were cleaner than the couches at the student co-op where I lived. I also liked the novelty of drinking legally at an institution that I’d been taught to associate with wholesome family fun. Alcohol and filmgoing are not an obvious mix. Alcohol increases dopamine and endorphin production, which is why people enjoy it as part of a festive night out, but it also disrupts sensory perception, including the aesthetic experience of a film. After one drink, when a person’s blood alcohol content (BAC) reaches 0.02 to 0.03 percent, they begin to experience slight euphoria and lightheadedness. After two drinks, when one’s BAC reaches 0.05 to 0.09 percent, inhibitions start to drop, reaction times slow, and “sight and hearing are diminished because the brain does not process input as rapidly.” Doctors have found that a BAC as low as 0.08 percent can induce “alterations in the visual system that are related, for instance, to color perception, contrast sensitivity, as well as on eye movements,” which correlate with visual attention. Alcohol is also a diuretic, so drinking dramatically increases the odds that a viewer will have to run to the restroom sometime during a show. Alcohol is unique among theatrical concessions in its ability to disrupt viewers’ moviegoing. Popcorn may be loud and hot dogs messy, but they don’t impair a person’s vision or their ability to follow a plot. Nevertheless, more and more theaters are adding alcohol to their concession stands or building lobby bars to encourage patrons to drink before, during, and after the film. In 1997, only 14 theaters in the United States served alcohol in their lobbies or in the auditorium itself. By 2005, that number had risen to 270. By 2017, thirty-two states allowed alcoholic beverages to be sold in approximately 700movie theaters, making adult concessions “the fastest-growing amenity in our industry,” according to George Patterson, the senior vice president of food and beverage for AMC. If a given cinema isn’t serving, it’s likely due to a municipal, county, or state law passed in the wake of Prohibition that proscribes alcohol sales at such establishments. Theater owners and industrial associations are hiring lobbyists to get those laws changed, though, because “adult concessions” are keeping exhibitors afloat, even as they fundamentally change U.S. cinema culture. The twenty-first-century shift toward sodden spectatorship is not without precedent. Alcohol has flowed through cinema history since the Lumière brothers’ first commercial exhibition in the Salon Indien of Paris’s Grand Café on December 28, 1895. Inebriants
{"title":"Spirits of Cinema:","authors":"Caetlin Benson-Allott","doi":"10.2307/j.ctv1h9dkpx.9","DOIUrl":"https://doi.org/10.2307/j.ctv1h9dkpx.9","url":null,"abstract":"I’vebeendoing it for years, but I still do not understand why I—or anyone—would drink at the movies. My practice began shortly after I turned twenty-one, at the New Parkway Theater in Oakland, California, once known as the Parkway Speakeasy. There you could order beer and pizza while watching the big screen from the comfort of an old couch. The couches weren’t all that clean, but they were cleaner than the couches at the student co-op where I lived. I also liked the novelty of drinking legally at an institution that I’d been taught to associate with wholesome family fun. Alcohol and filmgoing are not an obvious mix. Alcohol increases dopamine and endorphin production, which is why people enjoy it as part of a festive night out, but it also disrupts sensory perception, including the aesthetic experience of a film. After one drink, when a person’s blood alcohol content (BAC) reaches 0.02 to 0.03 percent, they begin to experience slight euphoria and lightheadedness. After two drinks, when one’s BAC reaches 0.05 to 0.09 percent, inhibitions start to drop, reaction times slow, and “sight and hearing are diminished because the brain does not process input as rapidly.” Doctors have found that a BAC as low as 0.08 percent can induce “alterations in the visual system that are related, for instance, to color perception, contrast sensitivity, as well as on eye movements,” which correlate with visual attention. Alcohol is also a diuretic, so drinking dramatically increases the odds that a viewer will have to run to the restroom sometime during a show. Alcohol is unique among theatrical concessions in its ability to disrupt viewers’ moviegoing. Popcorn may be loud and hot dogs messy, but they don’t impair a person’s vision or their ability to follow a plot. Nevertheless, more and more theaters are adding alcohol to their concession stands or building lobby bars to encourage patrons to drink before, during, and after the film. In 1997, only 14 theaters in the United States served alcohol in their lobbies or in the auditorium itself. By 2005, that number had risen to 270. By 2017, thirty-two states allowed alcoholic beverages to be sold in approximately 700movie theaters, making adult concessions “the fastest-growing amenity in our industry,” according to George Patterson, the senior vice president of food and beverage for AMC. If a given cinema isn’t serving, it’s likely due to a municipal, county, or state law passed in the wake of Prohibition that proscribes alcohol sales at such establishments. Theater owners and industrial associations are hiring lobbyists to get those laws changed, though, because “adult concessions” are keeping exhibitors afloat, even as they fundamentally change U.S. cinema culture. The twenty-first-century shift toward sodden spectatorship is not without precedent. Alcohol has flowed through cinema history since the Lumière brothers’ first commercial exhibition in the Salon Indien of Paris’s Grand Café on December 28, 1895. Inebriants ","PeriodicalId":435008,"journal":{"name":"The Stuff of Spectatorship","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131346415","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":"List of Figures","authors":"","doi":"10.2307/j.ctv1h9dkpx.3","DOIUrl":"https://doi.org/10.2307/j.ctv1h9dkpx.3","url":null,"abstract":"","PeriodicalId":435008,"journal":{"name":"The Stuff of Spectatorship","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131564768","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 : 1900-01-01DOI: 10.1525/9780520971820-009
{"title":"Chapter 6 Shot in Black and White The Racialized Reception of US Cinema Violence","authors":"","doi":"10.1525/9780520971820-009","DOIUrl":"https://doi.org/10.1525/9780520971820-009","url":null,"abstract":"","PeriodicalId":435008,"journal":{"name":"The Stuff of Spectatorship","volume":"218 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121948723","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":"The Commercial Economy of Film History:","authors":"","doi":"10.2307/j.ctv1h9dkpx.7","DOIUrl":"https://doi.org/10.2307/j.ctv1h9dkpx.7","url":null,"abstract":"","PeriodicalId":435008,"journal":{"name":"The Stuff of Spectatorship","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128068174","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 : 1900-01-01DOI: 10.1525/9780520971820-004
{"title":"Chapter 1 Collecting and Recollecting Battlestar Galactica through Video’s Varied Technologies of Memory","authors":"","doi":"10.1525/9780520971820-004","DOIUrl":"https://doi.org/10.1525/9780520971820-004","url":null,"abstract":"","PeriodicalId":435008,"journal":{"name":"The Stuff of Spectatorship","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123027722","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 : 1900-01-01DOI: 10.1525/9780520971820-007
{"title":"Chapter 4 Spirits of Cinema Alcohol Service and the Future of Theatrical Exhibition","authors":"","doi":"10.1525/9780520971820-007","DOIUrl":"https://doi.org/10.1525/9780520971820-007","url":null,"abstract":"","PeriodicalId":435008,"journal":{"name":"The Stuff of Spectatorship","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114626631","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}
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