Suchergebnisse

This essay describes the history of the cinema exhibitors in a Dutch mining district through studying their business strategies and the shifting relations they enjoyed with the local community, in order to reconstruct the development of their profession between the world wars. The cinema exhibitor acted as an intermediary, not only between the local, the national and international contexts, but also in drawing the novelty of cinema into the cultural and social life of the region. Bourgeois elites, represented in government and church authorities, were anxious to exert control over commercial entertainment, but looked at in isolation, their policies would reveal more about bureaucratic zeal or middle-class fears than actual cinema practice. The film exhibitor had to negotiate between these pressures from above and the demands of his audience. How he tried to resolve these issues can teach us much about the integration of cinema in modern society

Modalities of censorship, disciplining practices and film. A comparative analysis of the historical reception of Sergei Eistenstein's battleship potemkin (1925) in Belgium and the Netherlands This article deals with the historical reception and censorship of one of the most controversial movies in film history, Sergei M. Eisenstein's Soviet-Russian propaganda film battleship potemkin (1925). After a short overview of its turbulent censorship in major Western European countries, the manuscript compares the Belgian and the Dutch cases. This comparative approach is useful in order to understand the differential effectiveness of the various forces trying to discipline the movie – from local municipalities to political parties, pressure groups and the industry itself. Besides the observation that the Dutch and Belgian cases strongly differ, also from those in countries with an obligatory national censorship system, the article demonstrates how the potemkin event became a site of struggle, the target of intense ideological pressures, debate and different types – modalities – of 'censorship'.

Abstract
Cinema Context is an online database for researching the history of cinema exhibition and distribution in the Netherlands. It contains structured information on venues, persons and companies involved in the dissemination of film from the late nineteenth century until the present day, with an emphasis on the first half of the twentieth century. Aim of this paper is to document and critically reflect on the creation of the database and account for and motivate the choices made in constructing the data model and collecting the data.

Abstract
This introduction to the special issue of performing arts data papers starts off by dwelling on the purpose of the (re-)use of structured data for performing arts history, and on the benefits of publishing data papers about these data sets. The authors present several observations on the general characteristics of data models in this scholarly domain and conclude by discussing each of the contributions to this special issue of the Research Data Journal for the Humanities and Social Sciences.

Abstract
This data paper and the data collection from which it emerges aim to present a fully harmonized data set originating in several research projects on post-war cinema programming. The paper will reflect on the collection and structure of this aggregated data set, that consists of titles of feature films screened for public viewing in cinemas in the cities Bari (Italy), Antwerp and Ghent (Belgium), Gothenburg (Sweden), Leicester (United Kingdom) and Rotterdam (Netherlands) for the year 1952. As comparisons of movie-going patterns between European countries are still rare, this paper offers a model for constructing a data set which can be replicated, scaled up and used to compare, contextualize, and eventually theorize practices of cinema-going across countries at a global level.