This book documents contemporary practices of pop-up and site specific cinema exhibition in the UK (with a focus on Scotland), tracing their links with historical forms of non-theatrical exhibition such as public hall cinema and fairground bioscopes.
This book documents contemporary practices of pop-up and site specific cinema exhibition in the UK (with a focus on Scotland), tracing their links with historical forms of non-theatrical exhibition such as public hall cinema and fairground bioscopes.
Maria Antonia Vélez-Serna teaches Film and Media at the University of Stirling. She studied at the Universidad Nacional de Colombia and the University of Glasgow. She co-edited >Early Cinema in Scotland> (Edinburgh University Press, 2018) and has also published on Colombian cinema history.
Inhaltsangabe
List of Figures Introduction The structure of the book 1 Unstable constellations: Recognizing cinema out of place 1.1 Configurations 1.2 Protocols 1.3 Conclusion 2 Relocations: Mapping the non-theatrical field in Scotland 2.1 The fieldwork sample 2.2 Non-theatrical 2.3 Ephemeral 2.4 Pop-up 2.5 Improvised and insterstitial 2.6 Early ephemeral cinemas 2.7 Conclusion 3 A desire for the civic: Community cinemas and volunteer work 3.1 Social value 3.2 Public hall cinema 3.3 Community cinema 3.4 Case studies 3.5 Conclusion 4 Film clubs and subcultural cinephile spaces 4.1 Film cultures 4.2 Alternative exhibition in Glasgow 4.3 Glasgow film clubs 4.4 Producing spaces of cinephilia 4.5 Negotiating abundance and obsolescence 4.6 Conclusion 5 On the ground: Participatory screenings in everyday spaces 5.1 Archive film and local audiences 5.2 Spaces for action 5.3 Pop-up cinema as a site for public discussion 5.4 Conclusion 6 Crafting the extraordinary: site-specificity and liveness 6.1 An unrepeatable experience 6.2 Enhanced cinema: the pleasures of space 6.3 Site-specific programming 6.4 Expanded and expansionist cinema 6.5 Liveness 6.6 Conclusion 7 Against enclosure: DIY exhibition as prefigurative action 7.1 Tactical urbanism 7.2 Publicness and commoning 7.3 DIY and disalienated work 7.4 Home Cinema 7.5 Networks 7.6 Conclusion 8 Coda 9 Acknowledgements References Index.
List of Figures Introduction The structure of the book 1 Unstable constellations: Recognizing cinema out of place 1.1 Configurations 1.2 Protocols 1.3 Conclusion 2 Relocations: Mapping the non-theatrical field in Scotland 2.1 The fieldwork sample 2.2 Non-theatrical 2.3 Ephemeral 2.4 Pop-up 2.5 Improvised and insterstitial 2.6 Early ephemeral cinemas 2.7 Conclusion 3 A desire for the civic: Community cinemas and volunteer work 3.1 Social value 3.2 Public hall cinema 3.3 Community cinema 3.4 Case studies 3.5 Conclusion 4 Film clubs and subcultural cinephile spaces 4.1 Film cultures 4.2 Alternative exhibition in Glasgow 4.3 Glasgow film clubs 4.4 Producing spaces of cinephilia 4.5 Negotiating abundance and obsolescence 4.6 Conclusion 5 On the ground: Participatory screenings in everyday spaces 5.1 Archive film and local audiences 5.2 Spaces for action 5.3 Pop-up cinema as a site for public discussion 5.4 Conclusion 6 Crafting the extraordinary: site-specificity and liveness 6.1 An unrepeatable experience 6.2 Enhanced cinema: the pleasures of space 6.3 Site-specific programming 6.4 Expanded and expansionist cinema 6.5 Liveness 6.6 Conclusion 7 Against enclosure: DIY exhibition as prefigurative action 7.1 Tactical urbanism 7.2 Publicness and commoning 7.3 DIY and disalienated work 7.4 Home Cinema 7.5 Networks 7.6 Conclusion 8 Coda 9 Acknowledgements References Index.
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