Revaluing Montreal's Movie Palaces

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Revaluing Montreal's Movie Palaces Beyond the Decline: Revaluing Montreal’s Movie Palaces By: Alexandra Heather Gibb Department of Art History & Communication Studies McGill University, Montreal May 2015 A thesis submitted to McGill University in partial fulfillment of the requirements of the deGree of Doctor of Philosophy in Communication Studies © Alexandra Heather Gibb 2015 Acknowledgements This project would not have been possible without generous contributions from the Beaverbrook Foundation, Media@McGill, Fonds de Recherche Société et Culture (FRQSC) and Professor Will Straw. Also essential were the collections I perused at the Canadian Centre for Architecture, HeritaGe Montreal, the Bibliothèque et Archives Nationale du Québec, the City of Montreal Archives and the Library and Archives of Canada. And of course, I am forever indebted to the beautiful city of Montreal, my home of ten years and my muse. To Paul Moore, Charles Acland, Darin Barney and Sara Swain, thank you for the helpful conversations about and/or feedback on this project at different stages of the research and writinG. These interactions were crucial to expandinG my own thinkinG about the movie palace. Thank you to Zoë Constantinides for pointinG me to Gerald Pratley’s colourful views, and for sendinG me anythinG movie palace-related over the years. Thank you to Kristopher Woofter, Dru Jeffries, Poppy Robbins and Diane Dechief for our (ill-fated, but enjoyable) writing group. Thank you, also, to Sanja Obradovic for our early collaboration on Cinéma L’Amour, which helped pique my interest in the movie palace, and to Gilda Boffa for her last-minute translation work. BiGGest thanks of all Go to my wonderful advisor, Will Straw, for his unwavering guidance. Without his incisive feedback and continuinG support, I could not have accomplished this immense task. I would be nowhere without my family, especially Brendan Gibb, Danielle Davis, Kerry and Tina Boswell, and my parents, Allan and Adaire Gibb. I am deeply Grateful for their encouraGement. Thank you, also, to Helaina and Griffin Gibb for being the bright spots in my lonG writinG days. Over the course of this experience, my incredible friends have kept me sane. Thank you to: Tanya Appleton, Danny Baum, Zoë Constantinides, Diane Dechief, Rowena Deklaj, Yaheli Klein, Erin Laing, Devon McLeay, Sanja Obradovic, Poppy Robbins, Kat Sark, Laura Savich, Lina Shoumarova, Aviva Shtull, Sara Swain, Maya Toussaint, Lisa Timmermann, Sylvain Verstricht, Elena VilleGas and Saleema Webster. Thank you, finally, to the Pandora Chorus for brinGinG music back into my life, and to the spiders in my office for keepinG me on my toes. I dedicate this project, with love, to Adaire Gibb, my biGGest supporter and dearest friend. Abstract While scholars and historians have done much to illuminate the movie palace’s early twentieth-century history, this dissertation traces a neglected phase in this structure’s development: its revaluation, sparked by a period of decline, from the 1950s up to the present moment, 2015. MovinG beyond the dominant narrative of this object’s late-modern decline, this dissertation advances a new cultural history of the movie palace, one characterized by buoyancy and resilience. Across the latter half of the twentieth century, it arGues, movie palaces transitioned from outmoded, disreputable movie theatres to objects of preservation. The term “preservation” is here conceived in an expansive sense, capturinG the movie palace’s endurance by both formal and informal means, as well as the assorted forms and identities it has adopted over time— from the “twinned” or subdivided repertory theatre, the adult cinema and the revitalized performinG arts hall, to the empty, ruinous structure awaitinG reinvention. The late-modern movie palace, this work shows, is an ambiGuous object. Repeated efforts to imbue this structure with essential meaninG— in particular, assignations of heritage value— have ultimately revealed this structure’s fluidity, its resistance to a fixed ontology. Indeed, this research demonstrates, the movie palace is a constantly evolvinG object; its meaninG and value are always provisional. This dissertation begins by tracing how a collection of socio-cultural, economic and industrial variables influenced the movie palace’s initial postwar decline in North America, a stage often glossed over by historians and scholars. Through a close reading of trade journals and maGazines, it hiGhliGhts the role of the film exhibitor in relation to this history, revealinG how, when and why this fiGure varyinGly endorsed or resisted the movie palace’s obsolescence. It then turns to the local context of Montreal, Quebec where individual theatres negotiated wider forces of decline. Here, theatres persisted by shape shifting and performinG new roles, becominG specialized venues for alternative subcultures and niche markets. Across this period, this work arGues, the movie palace did not merely fade into obscurity; it discovered its mutability and asserted its modern potential. The most detailed case studies of this dissertation—of the Rialto and Seville theatres, respectively— reveal how and why the movie palace has continued to hold sway over cultural, social, economic and architectural matters in the city. As social actors in Montreal have, in different ways, laid claims to the fate of local theatres, these structures have become sites of contested meaninG, cauGht at the centre of discord, debate and controversy. Efforts to resolve the tensions emerGinG at the site of the movie palace, however, have encouraged an ongoing enGaGement with this historic artifact. As such, the movie palace’s competinG values have been productive, ensurinG that this old object retain modern siGnificance in an ever-shifting urban landscape. Résumé Bien que les chercheurs et les historiens en aient fait beaucoup pour éclairer l'histoire des palaces du début du vinGtième siècle, cette étude se penche sur une période néGliGée du développement de cette structure : sa revalorisation, suscitée par une période de déclin, allant des années 50 jusqu'à aujourd'hui, en 2015. En allant au-delà du récit dominant du déclin de cet objet durant l'époque moderne, cette dissertation propose une nouvelle histoire culturelle des palaces caractérisée par leur dynamisme et leur résilience. Cette étude affirme qu'au courant de la deuxième moitié du vinGtième siècle, les palaces sont passés de salles de cinéma malfamées à artéfacts à préserver. Le terme « préserver » ici se conçoit de façon exhaustive, capturant l'endurance des palaces de manière à la fois formelle et informelle, ainsi que les formes et identités diverses qu'ils ont adoptées au fil du temps — du cinéma de répertoire « jumelé » ou subdivisé, le cinéma pour adulte et la salle de spectacles revitalisée, à la structure vide et en ruines en attente de réinvention. Cette étude démontre que le palace de l'ère moderne est un objet ambiGu. Des efforts répétés pour impréGner cette structure d'un sens essentiel — des attributions de valeur patrimoniale en particulier — ont ultimement révélé la fluidité de cette structure, sa résistance à une ontoloGie fixe. En effet, cette recherche démontre que le palace est un objet en constante évolution; son sens et sa valeur sont toujours provisoires. Cette dissertation commence en retraçant comment une collection de variables socioculturelles, économiques et industrielles ont influencé le déclin initial de l'après- Guerre du palace en Amérique du Nord, une étape souvent néGliGée par les historiens et les chercheurs. Grâce à une lecture attentive de revues spécialisées et de maGazines, elle souliGne le rôle des exploitants de salles de cinéma dans cette histoire, révélant comment, quand et pourquoi ils ont, de manière variable, soutenu ou résisté l'obsolescence du palace. Elle se tourne ensuite vers le contexte local de Montréal, au Québec, où les théâtres ont néGocié individuellement avec des forces de déclin plus larGes. Ici, les théâtres ont survécu en chanGeant de forme et en jouant de nouveaux rôles, en devenant des salles spécialisées pour des sous-cultures alternatives et des marchés à créneau. Cette étude soutient que durant cette période, le palace n'a pas simplement sombré dans l'oubli; il a plutôt découvert sa mutabilité et affirmé son potentiel moderne. Les études de cas plus détaillées de cette dissertation — des théâtres Rialto et Séville, respectivement — révèlent comment et pourquoi le palace continue d'avoir une influence sur les questions culturelles, sociales, économiques et architecturales de la ville. Alors que des acteurs sociaux montréalais ont, de différentes façons, revendiqué le contrôle sur le sort des théâtres locaux, ces structures sont devenues des sites de sens contestés, pris au centre de discordes, de débats et de controverses. Des efforts pour résoudre les tensions émerGeant des palaces ont par contre encouraGé un enGaGement continu envers cet artéfact historique. Ainsi, les valeurs divergentes du palace ont été productives, assurant que ce vieil objet retienne un sens moderne au sein d'un paysaGe urbain en perpétuelle mutation. i Table of Contents LIST OF FIGURES V CHAPTER 1- AN UNTAPPED HISTORY 1 INTRODUCTION 1 DECLINE AND REVALUATION 3 METHODOLOGICAL FRAMEWORK 7 HISTORY AND ANALYSIS 8 SELECTED CASE STUDIES 9 RESEARCH METHODOLOGY 12 PRIMARY SOURCES: ARCHIVAL RECORDS AND OFFICIAL DOCUMENTS 12 SECONDARY SOURCES: NEWSPAPERS AND TRADE MAGAZINES 16 CHAPTER OUTLINE 19 CHAPTER 2- REVIEWING THE LITERATURE 24 FILM STUDIES: FROM TEXT TO CONTEXT 24 FILM EXHIBITION AND ITS
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