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POSTPONED Deadline Call for Paper - February 10th 2019

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POSTPONED Deadline Call for Paper - February 10th 2019

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POSTPONED Deadline Call for Paper - February 10th 2019

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POSTPONED Deadline Call for Paper - February 10th 2019

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POSTPONED Deadline Call for Paper - February 10th 2019

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POSTPONED Deadline Call for Paper - February 10th 2019

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POSTPONED Deadline Call for Paper - February 10th 2019

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POSTPONED Deadline Call for Paper - February 10th 2019

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6-9 CityScopes. Urban spaces and settings for the viewing of films

Session Title Session Coordinator
 
6 - 9 CityScopes. Urban spaces and settings for the viewing of films

user business Roy Menarini, Università di Bologna

Sessione

Among the many themes which collectively make up the relationship between cinema and the city, both  from the perspective of film studies and that of urban history, there stands out one particular vein rich in points to analyze, that is to say, the city as a place for the dissemination of images. From urban screens to projections in city squares, from mobile screens to the courtyard cinema, from the cinema of proximity to inflatable screens, the cinema seems to march towards the conquest of the city which, in welcoming it, trasforms itself, for varying periods and for smaller or larger audiences, into a place given over to a spectator experience.

In the light of the recent decline of the big screen system and of the deinstitutionalization of the cinema caused by the growing domestic consumption of audiovisual products, one might very well observe that city spaces have played host to cinematographic events from the earliest screenings in the coffee lounges of the late nineteenth century. While indeed representing a long-standing phenomenon, the “urbanization” of the cinema has undeniably reached its peak in more recent times, with the birth of alternative experiences to that of the cinema, or movie theater, which both confirm the crisis of the first-run cinemas and display the confident establishment of a new, more pervasive and urban film experience. It would, therefore, appear highly opportune to conduct a first, thorough reflection on these social and cultural processes, with a view to placing the question in a historical framework and in an appropriate critical narrative capable of expressing the more specifically urban dimension of the spectator and cinematographic experience.

Possible topics:

- The meaning of film outside cinemas: sports arenas and squares

- The film festival as the intensification of  urban cultural consumption

- Itinerant screenings in small urban centres and in the outskirts: from the cinema-truck to inflatable screens

- Bell tower cinema: the main square as meeting and viewing place

- Moving images and advertising on urban screens

- Film trailers and the advertising of films in overground and underground train stations

- Pop-up cinema: from deconsecrated churches to bars

- History of screenings in coffee lounges, from 1895 to the digital age

The methodological observation grids for these phenomena lend themselves to plurality: from cine-tourism to the sociology of the media, from film studies to the relationship between cinema and architecture, from urban history to the history of  ideas and performance.

       
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Email

roy.menarini@unibo.it

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