New Forms Of Cinema Exhibition


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Mark Jancovich
Posts: 1

There doesn't seem to have been much traffic on this site yet. Maybe everyone is shy about putting up the first posts. However, it occurred to me that one of the issues raised at the conference was that academic work on exhibition and audiences doesn't get disseminated very far beyond the academy itself, and there was interest in what work there was out there. Maybe one thing we could start a thread on would be about this research, i.e. what is out there and is good.

Here are some of my favorites:

Allen, Robert C., ‘From Exhibition toReception: Reflections on the Audience in Film History’, in Screen, 31:4, Winter 1990: 347-56.

Allen, Robert C., ‘Manhattan Myopia; or,Oh! Iowa!’, in Cinema Journal, 35: 3, Spring 1996: 75-103

Allen, Robert C., ‘Motion PictureExhibition in Manhattan, 1906-1912: Beyond the Nickelodeon’, in CinemaJournal 18: 2, Spring 1979: 2-15.

Allen, Robert C., and Douglas Gomery, FilmHistory: Theory and Practice, New York: McGraw-Hill, 1985.

Austin, Bruce, Immediate Seating: ALook at Movie Audiences, Belmont, Cal.: Wadsworth, 1989.

Barker, Martin, ‘FilmAudience Research: Making a Virtue Out of a Necessity’, in Iris, 26,1998: 131-147.

Barker, Martin, and Kate Brooks, KnowingAudiences: Judge Dredd, its Friends, Fans and Foes, Luton: University ofLuton Press, 1998.

Butsch, Richard The Making of AmericanAudiences: From Stage to Television, 1750-1990 Cambridge University Press,2000.

Corbett, Kevin J., ‘Empty Seats: TheMissing History of Movie-Watching’, in Journal of Film and Video, 50: 4,Winter1998-1999: 34-48.

Corbett, Kevin J., ‘The Big Picture:Theatrical Moviegoing, Digital Television, and Beyond the Substitution Effect’,in Cinema Journal, 40: 2, Winter 2001: 17-34.

Dibbets, Karel, and Guido Convents,‘Cinema Culture in Brussells and Amsterdam 1900-1930’, paper presented at theInternational Urban History Conference, Berlin, 2000.

Docherty, David, David Morrison, andMichael Tracey, The Last Picture Show? Britain’s Chainging Film Audiences,London: BFI, 1987.

Fuller, Kathryn H., At the PictureShow: Small-Town Audiences and the Creation of Movie Fan Culture,Washington: Smithsonian Institution Press, 1996.

Gomery, Douglas, ‘Movie Audiences, UrbanGeography and the History of American Film’ in The Velvet Light Trap,19, Spring 1982: 23-29.

Gomery, Douglas, Shared Pleasures: AHistory of Movie Exhibition in America, London: BFI, 1992.

Gray, Ann, Video Playtime: TheGendering of a Leisure Technology, London: Routledge, 1992.

Greiveson, Lee, Policing Cinema:Regulating the Movies in Early Twentieth Century American, Berkeley:University of California Press, forthcoming.

Grieveson, Lee ‘Fighting Films: Race,Morality, and the Governing of Cinema, 1912-1915’ Cinema Journal, 30: 1,Fall 1998: 40-72.

Grieveson, Lee ‘Why Audiences Mattered inChicago in 1907’ in Stokes and Maltby, eds., American Movie Audiences:71-91.

Grieveson, Lee, ‘”A Kind of RecreativeSchool for the Whole Family”: Making Cinema Respectable’ in Screen 42:1, Spring 2001: 64-76.

Gripsrud, Jostein ‘Film Audiences’ inJohn Hill and Pamela Church Gibson, eds., The Oxford Guide to Film Studies,Oxford University Press, 1998: 202-212.

Hall, Ben M., The Best Remaining Seats,New York: Bramwell House, 1961.

Hanson, Stuart, ‘Spoiltfor Choice? Multiplexes in the 90s’, in Robert Murphy, ed., British Cinemain the 90s, London: BFI, 1999: 48-59.

Hark, Ina Rae, ed, Exhibition, TheFilm Reader, London: Routledge, 2001.


Harper, Sue, and Vincent Porter, ‘CinemaAudience Tastes in 1950s Britain’, in Journal of British Popular Film,2, 1999: 66-82.

Harris, Richard, and Peter J. Larkham,‘Suburban Foundation, Form and Function’, in Richard Harris and Peter J.Larkham, eds., Changing Suburbs: Foundation, Form and Function, London:E& FN Spon, 1999: 1-20.

Herzog, Charlotte, ‘The Archaeology ofCinema Architecture: The Origins of the Movie Theatre’, in Quarterly Reviewof Film Studies, 9, Winter 1984: 11-32.

Herzog, Charlotte, ‘The Movie Palace andthe Theatrical Sources of its Architectural Style’, in Cinema Journal,20: 2, Spring 1981: 15-37.

Hiley, Nicholas, ‘“At the PicturePalace”: The British Cinema Audience, 1985-1920, in John Fullerton, ed, Celebrating1895: The Centenary of Cinema, Sydney: John Libbey, 1998: 96-103.

Hiley, Nicholas, ‘“Let’s Go to thePictures”: The British Cinema Audience in the 1920s and 1930s’, in Journalof British Popular Film, 2, 1999: 39-53.

Hubbard, Phil, ‘Going Out (of Town): TheNew Geographies of British Cinema’, in Journal of British Popular Film,Forthcoming.

Jancovich, Mark, The Place of the Audience: Cultural Geographies of Film Consumption, London: BFI, 2003.

Jones, Janna, ‘Finding a Place at theDowntown Picture Palace: The Tampa Theatre, Florida’, in Mark Sheil and TonyFitzmaurice, eds., Cinema and the City: Film and Urban Societies in a GlobalContext, Oxford: Blackwells, 2001: 122-133.

Klinger, Barbara, Beyond the Multiplex, Berkeley: University ofCalifornia Press, 2006.

Lyons, James, ‘FoodConsumption and the Cinema’, unpublished manuscript.

Maltby, Richard ‘Sticks, Hicks and Flaps:Classical Hollywood’s Generic Conception of its Audiences’ in Melvyn Stokes andRichard Maltby, eds., Identifying Hollywood’s Audiences: Cultural Identityand the Movies, London: BFI, 1999: 23-41.

Mayall, David, ‘Palaces of Entertainmentand Instruction: A Study of the Early Cinema in Birmingham, 1908-18’, MidlandHistory, X, 1985.

Mayer, J. P., British Cinema and theirAudiences: Sociological Studies, London: Dobson, 1948.

McQuail, Denis, Audience Analysis,London: Sage, 1997.

Moores, Shaun, Interpreting Audiences:The Ethnography of Media Consumption, London: Sage, 1993.

Morley, David, ‘Changing Paradigms inAudience Studies’, in Ellen Seiter, Hans Borchers, Gabriele Kreutzner andEva-Maria Warth, eds., Remote Control: Television, Audiences and CulturalPower, London, Routledge, 1990.

Moss, Louis, and Kathleen Box, TheCinema Audience: An Inquiry made by the Wartime Social Survey for the Ministryof Information, reprinted in Mayer, British Cinemas and their Audiences.

Schaefer, Eric, “Bold! Daring!Shocking! True!” A History of Exploitation Films, 1919-1959, Durham: DukeUniversity Press, 1999.

Stacey, Jackie, Star Gazing: HollywoodCinema and Female Spectatorship London: Routledge, 1994.

Staiger, Janet, InterpretingAudiences: Studies in the Historical Reception of American Cinema,Princeton: Princeton University Press, 1992.

Staiger, Janet, Perverse Spectators:The Practices of Film Reception, New York: New York University Press, 2000.

Stubbings, Sarah, From Modernity toMemorial: Changing Meanings of the 1930s Cinema in Britain, unpublishedPh.D, University of Nottingham.

Waller, Gregory A., ed., Moviegoing inAmerica: A Sourcebook in the History of Film Exhibition, Oxford:Blackwells, 2001.

Waller, Gregory A., Main StreetAmusements: Movies and Commercial Entertainment in a Southern City, 1896-1930,Washington: Smithsonian Institution Press, 1995.

Waller,Gregory ‘Hillbilly Music and WillRogers: Small-town Picture Shows in the 1930s’ in Stokes and Maltby, eds., AmericanMovie Audiences: 164-179.

Wilinsky, Barbara, Sure Seaters: TheEmergence of the Art House Cinema, Minneapolis: University of MinnesotaPress, 2000.

March 4, 2012 at 9:42 AM Flag Quote & Reply

Douglas Gomery
Posts: 1

Reseach ought to beging on digital project now being installed in the USA as I write.


The two largest chains in the USA plan to be all digital projection by July, 2012.


The question remain: what will become the standard?


Douglas Gomery

March 5, 2012 at 2:49 PM Flag Quote & Reply

?sa Jernudd
Posts: 1

... and other questions follow such as how often will the projection technology be upgraded, at what cost and what are the consequences for independent and small chain exhibitors?

May 30, 2012 at 10:21 AM Flag Quote & Reply

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