A "Poor Man's Pleasure": The Cinema House and Its Publics in Twentieth Century South Africa.
What do cinema houses have to tell us about the experience of collective leisure in early twentieth-century South Africa? This article considers how the cinema house points to unprecedented social conditions that allowed the emergence of new publics. Drawing on scholarship on the development of cine...
| Publicado en: | Critical Arts: A South-North Journal of Cultural & Media Studies Vol. 36; no. 3/4; pp. 89 - 103 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Jun-Aug2022
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=162079940&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 162079940 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 02560046 CTA jtl: Critical Arts: A South-North Journal of Cultural & Media Studies issn: 02560046 maglogo: N pubinfo: dt: Jun-Aug2022 vid: 36 iid: 3/4 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 162079940 10.1080/02560046.2023.2166967 ppf: 89 ppct: 14 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1.1MB tig: atl: A "Poor Man's Pleasure": The Cinema House and Its Publics in Twentieth Century South Africa. aug: au: Pinto de Almeida, Fernanda affil: Centre for Humanities Research, University of Western Cape, Cape Town, South Africa su: Motion pictures Audience response Motion picture audiences Apartheid South Africa sug: subj: South Africa Motion pictures Audience response Motion picture audiences Apartheid keyword: Cinema house leisure publics segregation ab: What do cinema houses have to tell us about the experience of collective leisure in early twentieth-century South Africa? This article considers how the cinema house points to unprecedented social conditions that allowed the emergence of new publics. Drawing on scholarship on the development of cinema in South Africa, the article considers how the historical transformations through which the cinema has passed since the 1910s suggest attempts to domesticate the space of projection of the cinema as well as the formation of new cinema audiences. Diverging from readings of the cinema in South Africa that focus on film, the article considers how the cinema house is inscribed in this scholarship as an evocative cipher of incipient publics and as a metaphor for the containment of a new public sphere during the periods of segregation and Apartheid. While today the cinema house no longer occupies the place it once did, the paper concludes with a reflection on recent recreations of the space of the cinema in two South African art installations. The restaging of these cinemas offers a way into the making of a collective space and the kinds of distinct publics they forged. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Critical Arts: A South-North Journal of Cultural & Media Studies is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Critical Arts: A South-North Journal of Cultural & Media Studies holder: Taylor & Francis Ltd dt: @attributes: year: 2022 holdings: @attributes: islocal: N |
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