Cinema, Audiences and Modernity is part of a ‘new cinema history’ movement within film and screen studies. This movement aims to look beyond the understanding of cinema’s 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 ‘from below’ – from the perspectives of its audiences. This collection sheds new light on the cinema and ...
Comparing historical cinema cultures : reflections on new cinema history and comparison with a cross-national case study on Antwerp and Rotterdam Ghent University
The increasing amount of data on historical film exhibition, programming and experiences, more in particular the construction of large databases on these matters, offers a plethora of new opportunities for understanding film cultures from the past. However, it also raises new conceptual, epistemological and methodological questions, for instance, on how to connect and compare these data in meaningful ways. Dealing with issues of comparison and ...
Clerics, laymen, and cinema. The troubled relations between the Vatican and the Office Catholique Internationale du Cinéma (1948-1952) KU Leuven
© 2017 Intellect Ltd Article. The Office Catholique International du Cinéma (OCIC), founded in 1928, established itself as an influential institution that played an important role in setting the Catholic agenda with regards to cinema during an existence that spanned more than 70 years (1928-2001). OCIC derived its influence primarily by maintaining an intermediate position between its national member organizations and the Vatican. This ...
The cinema is dead, long live the cinema! Understanding the social experience of cinema-going today Ghent University
Art history in the cinema : Rubens (1948) and Paul HaesaertsU+2019s concept of cinéma critique Ghent University
Cinema and the Swastika. The International Expansion of Third Reich Cinema [2nd REVISED EDITION] KU Leuven
This revised paperback edition features a new chapter on German film politics in the occupied Eastern Territories (Soviet Union, Baltic States and Poland).The hardback version of this book won the 2007 Willy Haas Award for books on German cinema.
Comparative, entangled, parallel and U+2018otherU+2019 cinema histories : another reflection on the comparative mode within New Cinema History Ghent University
Comment on the theme issue.