Title Participants "Sex cinemas, limit transgression and the aura of ‘forbiddenness’ : the emergence of risqués cinemas and Cinema Leopold in Ghent, Belgium, 1945-1954" "Daniël Biltereyst" "Cinemas of conflict: a framework of cinematic engagement with violent conflict, illustrated with Kurdish cinema" "Kevin Smets" "La Città illuminata come 'nuova storia del cinema': un progetto di storia orale sul cinema nelle Fiandre (1925-1975)" "Philippe Meers, Daniël Biltereyst" "Metodologías de investigación para la nueva historia del cine new cinema history" "Philippe Meers, V. Luzon, J.C. Lozano, D. Biltereyst, I. Cabeza" "Cinema, audiences and modernity: new perspectives on European cinema history" "Cinema, Audiences and Modernity is part of a U+2018new cinema historyU+2019 movement within film and screen studies. This movement aims to look beyond the understanding of cinemaU+2019s history as concerned only with films and their production, and instead concentrate on the social experience of cinema. It has as its aim a rewriting of cinema history U+2018from belowU+2019 U+2013 from the perspectives of its audiences. This collection sheds new light on the cinema and modernity debate by confronting established theories of the role of the modern cinematic experience with new empirical work on the social experience of cinemagoing, film audiences and film exhibition in Europe. The case studies also provide a U+2018how toU+2019 compendium of current methodologies for researchers and students working on film and media audiences, film and media experiences, and historical reception. The contributions to this book reflect on the very different ways in which cinema has been accepted, rejected or disciplined as an agent of modernity in neighbouring parts of Europe, and on how cinemagoing has been promoted and regulated as a popular social practice at different times in twentieth-century European history." "Critical reflections on Cinema Belgica : the database for New Cinema History in Belgium" "Vincent Ducatteeuw, Daniël Biltereyst, Philippe Meers, Christophe Verbruggen, Dries Moreels, Julia Noordegraaf, Sally Chambers, Pieterjan De Potter, Tamar Cachet, Nicolas Franck, Florian Deroo" "New Cinema History broadened film studies by emphasising the complexity of cinema as a multifaceted phenomenon that includes the socio-economic context in which films were made, circulated, shown and received. As part of the digital turn, the discipline adopted computational methods and created quantitative research data to research this socio-economic context at scale. However, not all datasets created in this context adhere to FAIR principles, decreasing their reusability. By reconciling 14 cinema-related datasets, Cinema Belgica facilitates research into the history of Belgian cinema. This research paper documents and critically reflects on the choices made when selecting, modelling and reconciling information for the Cinema Belgica database." "The other panicking audience : a new cinema history approach to early cinemagoing, cinema fires, disasters and panics" "Daniël Biltereyst" "Chapter on different forms of panic, on cinema disasters and historical cinema audiences, with a micro-history of a cinema fire in Belgium in 1912." "New cinema history and the comparative mode: reflections on comparing historical cinema cultures" "Daniël Biltereyst, Philippe Meers" "Within the new cinema history perspective, the call for more systematic comparative research has been high on the agenda for some time. The recent proliferation of studies on various aspects of film exhibition and cinemagoing creates an enormous potential for data to be integrated and compared, larger patterns to be discovered, and hypotheses to be tested. This article maintains that the work done so far is largely monocentric in the sense that most studies focus on very specific local practices and experiences, often concentrating on film exhibition and audience experiences in particular cities, neighbourhoods or venues. The contribution argues that, similarly to what happened in other disciplines, a comparative perspective might be helpful in trying to understand larger trends, factors or conditions explaining differences and similarities in cinema cultures. After a discussion on the (underdeveloped) comparative mode within film studies in general, this methodological and partly self-reflective essay will go into some of the challenges of doing comparative research on film exhibition and moviegoing. Concentrating on these issues, different levels and modes of comparative research are discussed and illustrated by using data and insights from various historical studies on cinema cultures." "Cinema in cinema" "Gertjan Willems" "Fugitive Cinema verdeelt: uitzonderlijke filmvertoningen in De Cinema" "Liesje Baltussen, Emilie Brack, Nina Buelens, Marilien De Raedt, Sofie Delrue, Steven Jacobs, Stella Moore, Gijs Suy, Eline Van Hooydonck, Juline Van Oudenhove, Gertjan Willems" "Binnenkort kan je in De Cinema in Antwerpen een belangrijk stukje Belgische filmgeschiedenis ontdekken. Studenten Theater- en Filmwetenschap van de Universiteit Antwerpen stellen er eind april hun onderzoek voor over de nalatenschap van Robbe De Hert. Tijdens een onderzoeksseminarie focusten ze op de distributietak van De Herts filmcollectief Fugitive Cinema. Onder de noemer ‘Fugitive Cinema verdeelt’ organiseren ze een filmprogramma van vier avonden, inclusief een ontdekking uit het archief en enkele zelden vertoonde films."