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De Almeida Phd Arts 2020 12.Pdf MAKING SENSE OF THE BIOSCOPE: THE EXPERIENCE OF CINEMAS IN TWENTIETH CENTURY CAPE TOWN Fernanda Pinto de Almeida A thesis submitted in partial fulfilment of the requirements for the degree of Doctor Philosophiae in the Department of History, University of the Western Cape. Supervisor: Professor Premesh Lalu April 2020 http://etd.uwc.ac.za/ Keywords Cinema Bioscope Aesthetics Architecture Interior Apartheid Segregation Cape Town Mass media Mass publics Senses http://etd.uwc.ac.za/ ii Abstract Making sense of the bioscope: The experience of cinemas in twentieth century Cape Town. Pinto de Almeida, Fernanda. PhD Thesis, Department of History, University of the Western Cape, 2019. In my thesis I focus on Cape Town’s imaginary of cinemas – popularly called bioscopes – within a larger historical approach to temporary film halls, picture palaces, atmospherics and drive-ins. My inquiry includes both conceptual and institutional lenses to show how cinema houses enabled particular affects, eschewed bureaucratic restrictions and questioned political authority over public spaces. I ask specifically: how did cinema help to forge audiences and political sentiment by mobilizing the senses? How was the public threat posed by so-called ‘flea-pit’ film halls of early twentieth century seemingly appeased by the private promise of the multiplex rooms in suburban enclosures? For this purpose, I examine the appeal of early twentieth century cinemas alongside their impact in the city’s geography and incipient public sphere to argue that cinema promoted a collective form of experience that bypassed both segregationist and liberal policies of governance. From the period of the Union’s control of leisure venues in the 1910s to the end of Apartheid’s Separate Amenities Act in the late 1980’s, cinemas in South Africa attracted audiences across racial ‘communities’, eluded market and government spatial limitations, and helped to redefine public reception of mass media. While cinema segregated its public by race for over sixty years in the Cape and countrywide and while, later, the provincial entertainment tax deemed cinemas too expensive to compete with individualized technical novelty of television, my thesis offers an examination of the social promise forged by cinema houses and its http://etd.uwc.ac.za/ iii reverberations in the present. I suggest that collective forms of viewing film still inspire our hopes in mass media, in their potential to mobilize collective affects and to translate mass publics into mass politics. Using as evidence academic and press media discourses on cinema, I analyze the impact of cinema desegregation in the city and the afterlife of its collective appeal. I trace formation of twentieth century cinema publics to characterize cinema as a space of both racial arrest and potential for political change and a standpoint from which to examine historical transformation. The literature that frames my discussion reveals a reading of political aesthetics in the country on the one hand, and of Cape Town’s particular histories of urban segregation, forced removals and sites of public unrest on the other. I analyze accounts of cinemas that make claims onto the modernizing city, and how cinema halls, picture palaces, atmospherics and drive-ins became a proxy to racial discrimination, class distinction, market strategies and political partisanship. My approach to accounts of cinema’s infrastructure and its relation to both imperial and national sentiments allows for an analysis of spaces as cinemascapes, or assemblages of newspaper accounts, advertisements, photographs, footages, architectural plans and letters of state regulation; it also includes the material culture or “archaeology” of the remains of cinemas: programs, posters, tickets, equipment, furniture and other memorabilia. My work thus offers a theoretical approach to the sensory and political qualities of cinema by considering the ambivalent character of cinema houses in Cape Town and the public sense it both enables and forecloses. By examining cinema’s ambivalence, I offer a critical assessment of cinema spaces and medium in ways that eschew the charge of cinema as a colonial imposition as well as the uncritical celebration of its democratic potential. http://etd.uwc.ac.za/ iv Declaration I declare that Making sense of the bioscope: The experience of cinemas in twentieth century Cape Town is my own work, that it has not been submitted for any degree or examination in any other university, and that all the sources I have used or quoted have been indicated and acknowledged by complete references. Fernanda Pinto de Almeida 02 December 2019 http://etd.uwc.ac.za/ v Acknowledgements This thesis was only possible with the financial support I received as an Early Career Scholar from the South African Department of Science and Technology and National Research Foundation and from the Andrew H. Mellon Foundation during my years at UWC History Department and as a fellow at the Centre for Humanities Research. I am grateful for the mentorship and support I received from my supervisor Premesh Lalu, whose invaluable intellectual contribution inspired me to return to academia and undertake this project. I am indebted to all the scholars, staff and fellows at the History Department and the Centre for Humanities Research at UWC for their continuous intellectual exchange and academic encouragement. I’m grateful to Lameez Lalkhen and Miceala Felix for their administrative support and the encouragement of my CHR friends, in particular Aidan Erasmus, Lauren Van der Rede and Emma Minkley. I thank Ciraj Rassool, Andrew Bank and Patricia Hayes for offering important feedback at different stages of my writing. I am grateful to scholars from other universities and institutes who offered support and have read parts of this dissertation, in particular Ian-Malcolm Rijsdijk at the UCT Centre for Film and Media Studies for his constructive feedback and Laura Moutinho at the University of Sao Paulo. A special thanks to Erica Le Roux at the Western Cape Archives and Records Services. My deepest gratitude to the Interdisciplinary Center for the Study of Global Change at the University of Minnesota, as well as to Vinay Gidwani, Karen Brown and Helena Pohlandt- McCormick, fellows and staff for hosting me as a visiting scholar. A heartfelt thanks to Nancy Luxon for her generosity, insight, and for the privilege to have sat in her theory class. Finally, I owe so much of this to Marta, my strength in another body. To the memory of Conchetta and Narciso. To my loving father and to my ever-present parents in law for childcare and proofreading. To Guido, for being here. To Bernard, my partner in life and in writing, for over a decade of intellectual complicity. Finally, I dedicate this work to my wonder boy Ben, font of infinite wit and patience, and to Noah, who found me just in time. This is also theirs. http://etd.uwc.ac.za/ vi List of Figures Figure 1: “Interior of The Picture Pavilion Palace, a bioscope showing convalescent soldiers attending a show, Main Road, Claremont, Cape”, 1917. Courtesy of the Western Cape Archives and Records Service. AG Collection. p. 45 Figure 2: “Crowd of convalescent soldiers standing in front of The Picture Pavilion Palace, a bioscope, Main Road, Claremont, Cape.” 1917. Courtesy of the Western Cape Archives and Records Service. AG Collection. p. 45 Figure 3: Cape Times. Thursday, June 15, 1916. p. 50 Figure 4: Children as part of the audience of the Globe Bio in Woodstock circa 1915. p. 98 Figure 5: “Burnt Rio Cinema” South African Police Service Museum and Archives. Reproduced in Vuyisile Msila, 2014. p.115 Figure 6: “Do you think this an honest expression of a modern cinema?” poster in Rebuilding South Africa. p. 132 Figure 7: Cape Town Map, 1931, From UCT Africana library. p. 137 Figure 8: Cape Town Map, 1960. p. 138 Figure 9: Cape Town Map, 1990. p. 138 Figure 10: Alabama Cinema in Loop Street. Courtesy of the Western Cape Archives. AG Collection, Western Cape Archives and Records Service. p. 141 Figure 11: The Demolition of the Alhambra Threatre, p. 150 Figure 12: Stills from British Pathé. p. 159 Figure 13: The Sunset Drive-in layout based on the original architectural plans. Courtesy of the Western Cape Archives and Record Services. p.164 Figure 14: Cape Town drive-ins in relation to racially demarcated areas. p. 180 http://etd.uwc.ac.za/ vii CONTENTS Keywords ii Abstract iii Acknowledgements vi List of Figures vii Preface: The Bioscope Man ix INTRODUCTION: MAKING SENSE OF CINEMA 1 Bioscopes and war 7 Colonial senses, metropolitan lenses 13 Mass cinema and mass ornament 17 Method and overview of chapters 20 CHAPTER 1: BIOSCOPES AND BATTLEGROUNDS 25 Approaching colonialism 29 The war in the bioscope 38 The war for the bioscope 45 Introducing the picture palace 53 CHAPTER 2 THE PICTURE PALACE 57 Pictures, not rainstorms 60 The perils of interior 68 Waiting for it to go black 76 Building cinemas and nation building 80 CHAPTER 3: A CINEMA ON FIRE 87 Cinema houses coming of age 91 A cowboy atmosphere 99 Civilizing leisure 105 ‘Native’ cinema, fictions of freedom 112 CHAPTER 4: APARTHEID AND THE CIVIC CINEMA 121 Cinema in the service of the nation 125 Civic emotions and architectural honesty 129 Home-grown cinema 140 Cinema wasteland 147 CHAPTER 5: THE FALL OF A DRIVE-IN’S ‘BERLIN WALL’ 155 Entering the drive-in 158 Television and the ends of cinema 166 The creation of a ‘multiracial’ drive-in 171 Driving desegregation 178 “Before you see the picture, see the wall” 183 CONCLUSION: CINEMA AND AFTER 187 BIBLIOGRAPHY 193 http://etd.uwc.ac.za/ viii Preface: The Bioscope Man Cry not “Frustration”, shout, “What an Opportunity!” H.I.E. Dhlomo1 The year is 1923, a critical historical marker from which to introduce the main character in Lance Gewer’s 1997 short film Come see the bioscope.
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