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Global Cinema Global Cinema Series Editors Katarzyna Marciniak Department of English Ohio University Athens, OH, USA Anikó Imre Division of Cinema and Media Studies University of Southern California Los Angeles, CA, USA Áine O’Healy Department of Modern Languages and Literatures Loyola Marymount University Los Angeles, CA, USA The Global Cinema series publishes innovative scholarship on the transna- tional themes, industries, economies, and aesthetic elements that increas- ingly connect cinemas around the world. It promotes theoretically transformative and politically challenging projects that rethink film studies from cross-cultural, comparative perspectives, bringing into focus forms of cinematic production that resist nationalist or hegemonic frameworks. Rather than aiming at comprehensive geographical coverage, it fore- grounds transnational interconnections in the production, distribution, exhibition, study, and teaching of film. Dedicated to global aspects of cin- ema, this pioneering series combines original perspectives and new meth- odological paths with accessibility and coverage. Both ‘global’ and ‘cinema’ remain open to a range of approaches and interpretations, new and traditional. Books published in the series sustain a specific concern with the medium of cinema but do not defensively protect the boundaries of film studies, recognizing that film exists in a converging media environ- ment. The series emphasizes a historically expanded rather than an exclu- sively presentist notion of globalization; it is mindful of repositioning ‘the global’ away from a US-centric/Eurocentric grid, and remains critical of celebratory notions of ‘globalizing film studies.’ More information about this series at http://www.palgrave.com/gp/series/15005 Daniela Treveri Gennari • Danielle Hipkins Catherine O’Rawe Editors Rural Cinema Exhibition and Audiences in a Global Context Editors Daniela Treveri Gennari Danielle Hipkins School of Arts and Humanities Department of Modern Languages Oxford Brookes University University of Exeter Oxford, UK Exeter, UK Catherine O’Rawe School of Modern Languages University of Bristol Bristol, UK Global Cinema ISBN 978-3-319-66343-2 ISBN 978-3-319-66344-9 (eBook) https://doi.org/10.1007/978-3-319-66344-9 Library of Congress Control Number: 2018957010 © The Editor(s) (if applicable) and The Author(s) 2018 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. Cover credit: Russell Kord / Alamy Stock Photo This Palgrave Macmillan imprint is published by the registered company Springer Nature Switzerland AG The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland CONTENTS 1 Introduction: Rural Cinema Exhibition and Audiences in a Global Context—Not Just a Slower Transition to Modernity 1 Daniela Treveri Gennari, Danielle Hipkins, and Catherine O’Rawe Part I Space, Place and Cinema-Going Experiences 15 2 The Use of Geographical Categories in Cinema Studies: An Ontological Examination 17 Elisa Ravazzoli 3 Kanda’s Grounds and the Ritual Experience of Rural Cinema in Narok, Kenya 31 Solomon Waliaula 4 The Business of ‘Wholesome Entertainment’: The Mascioli Film Circuit of Northeastern Ontario 47 Jessica L. Whitehead v vi Contents Part II Early Cinema, Itinerant Showmen and the Lure of Modernity 71 5 Spaces In-Between: The Railway and Early Cinema in Rural, Western Canada 73 Paul S. Moore 6 Rurban Outfitters: Cinema and Rural Cultural Development in New Hampshire’s North Country, 1896–1917 91 Jeffrey Klenotic Part III Oral Histories and the Social Experience of Rural Cinema-Going 115 7 Oral Memories of Cinema-Going in Rural Italy of the 1950s 117 Danielle Hipkins, Daniela Treveri Gennari, Catherine O’Rawe, Silvia Dibeltulo, and Sarah Culhane 8 Belgian Film Culture Beyond the Big City: Cinema-Going in the Provincial and Rural Periphery of Antwerp 135 Philippe Meers and Daniël Biltereyst 9 The Social Experience of Going to the Movies in the 1930s–1960s in a Small Texas Border Town: Moviegoing Habits and Memories of Films in Laredo, Texas 155 José Carlos Lozano, Philippe Meers, and Daniël Biltereyst 10 The Social Geography of ‘Going Out’: Teenagers and Community Cinema in Rural Australia 171 Karina Aveyard Contents vii Part IV Shaping Cinema Audiences for Educational and Ideological Purposes 185 11 Projecting Modernity: Sol Plaatje’s Touring Cinema Exhibition in 1920s South Africa 187 Jacqueline Maingard 12 Controlling Rural Cinemagoing by Appropriating a Film Format: The Catholic Adventure of ‘Pathé-Rural’ in Interwar France 203 Mélisande Leventopoulos 13 UNESCO, Mobile Cinema, and Rural Audiences: Exhibition Histories and Instrumental Ideologies of the 1940s 219 Ian Goode 14 Reconsidering Post-Revolutionary Cultural Change: Rural Film Projection Teams in Shaanxi Province, 1949–1956 237 Matthew D. Johnson 15 Silence under the Linden Tree: Rural Cinema-Going in Czechoslovakia in the 1950s and 1960s 261 Lucie Cesálková̌ Part V Film Programming Strategies, Exhibition Practices and Reception 281 16 Language and Cultural Nearness: Film Programming Strategies and Audience Preferences in Big Cities and Small Towns in the Netherlands 1934–1936 283 Clara Pafort-Overduin viii Contents 17 Post-war Thai Cinema: Audiences and Film Style in a Divided Nation 303 Mary J. Ainslie 18 Youth, Leisure, and Modernity in the Film One Summer of Happiness (1951): Exploring the Space of Rural Film Exhibition in Swedish Post-war Cinema 325 Åsa Jernudd 19 Cine Centímetro: Memories and Cinemagoing Practices in an MGM Replica Cinema in the Rio de Janeiro Countryside 339 Talitha Ferraz Index 357 NOTES ON CONTRIBUTORS Mary J. Ainslie is Assistant Professor in Film and Media at the University of Nottingham Ningbo Campus, China. Her research specialises in culture and media throughout the Asia region, with specific emphasis upon Thailand and Malaysia, as well as the wider intercultural links between the East and Southeast Asia regions. She has published in numerous journals and edited collections and has received funding for projects from a variety of international organisations. Karina Aveyard is a University of Sydney postdoctoral research fellow and senior lecturer in the School of Art, Media and American Studies at the University of East Anglia, Norwich. She is author of Lure of the Big Screen: Cinema in Rural Australia and the United Kingdom (2015) and has published numerous journal articles on contemporary rural cinema exhibition and audiences. Daniël Biltereyst is Professor in Film and Media Studies at the Department of Communication Studies, Ghent University, Belgium, where he teaches film and media history and media studies. His work deals with media and the public sphere, more specifically with screen culture as sites of censorship, controversy, public debate, and audience’s engage- ment. He is editor of various edited volumes and special issues, including recently Silencing Cinema (Palgrave Macmillan, 2013, with Roel Vande Winkel), Moralizing Cinema (2015, with Daniela Treveri Gennari), and a special issue on oral histories and cinema-going for Memory Studies (2017, with Annette Kuhn and Philippe Meers). He is working on The Routledge ix x NOTES ON CONTRIBUTORS Companion to New Cinema History (2018, with Richard Maltby and Philippe Meers) and Mapping Movie Magazines (Palgrave Macmillan, 2018, with Lies Van de Vijver). Lucie Česálková was Assistant Professor at the Department of Film Studies and Audiovisual Culture of Masaryk University, Czech Republic, and is head of the National Film Archive Research Department, and chief editor of the peer-reviewed film journalIluminace . Her research focuses on the history of film exhibition and cinema-going, and the history of useful media about which she wrote a monograph, and published a num- ber of studies in both Czech and foreign journals (Iluminace, Film History, The Moving Image, Memory Studies) and anthologies. She is engaged in research projects about Czechoslovakian screen advertising, multimedia theatre Laterna Magika, and trends in contemporary reality- based media. Sarah Culhane is a PhD graduate in Italian studies from the University of Bristol, UK. Her PhD, Beyond ‘belle e brave’: Female Stars and Italian Cinema Audiences (1945–1960), combines the disciplines of audience studies and star studies to analyse the audience-star relation as evidenced among Italian cinema-goers in the post-war period. She
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