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Intellect Books - Karina Aveyard

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124 pages

English

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Description

Lure of the Big Screen explores film exhibition and consumption in rural parts of the UK and Australia, where film theatres are often highly valued as spaces around which isolated communities can gather and interact. Going beyond national borders, this book examines how theatres in areas of social and economic decline are sustained by resourceful individuals and sub-commercial operating structures. Systematic analysis of cinemas in non-metropolitan locations has yielded an original five-tiered clustering model through which Karina Aveyard recognizes a range of types between large commercial multiplexes in stable regional centres and their smallest improvised counterparts in remote settlements.

Introduction

Chapter 1: Hierarchies of Rural Cinema

Chapter 2: Rural Cinema as a Business

Chapter 3: Rural Cinema and Public Policy

Chapter 4: Rural Cinema and Grassroots Movements

Chapter 5: Rural Cinema as a Social Event

Conclusion: The Lure of the Big Screen

Appendix A: Methodological Notes

Appendix B: Industry Interviews and Correspondence

Sujets

Popular Culture

Película fotográfica

General officer

General

Cultural Studies

Film

Media

Informations

Publié par	Intellect Books
Date de parution	01 décembre 2014
Nombre de lectures	0
EAN13	9781783203840
Langue	English

Informations légales : prix de location à la page 0,3136€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

First published in the UK in 2015 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2015 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright © 2015 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Cover designer: Stephanie Sarlos
Copy-editor: MPS Technologies
Production manager: Tim Elameer
Typesetting: Contentra Technologies
Print ISBN: 978-1-78320-382-6
ePDF ISBN: 978-1-78320-383-3
ePUB ISBN: 978-1-78320-384-0
Printed and bound by Gomer Press Ltd, UK
Dedication
For Peter, Astrid and Andrew
Contents
List of Tables and Images
List of Abbreviations
Cinema Case Study Sites
Acknowledgements
Foreword
Introduction
Chapter 1: Hierarchies of Rural Cinema
Chapter 2: Rural Cinema as a Business
Chapter 3: Rural Cinema and Public Policy
Chapter 4: Rural Cinema and Grassroots Movements
Chapter 5: Rural Cinema as a Social Event
Conclusion: The Lure of the Big Screen
Appendix A: Methodological Notes
Appendix B: Industry Interviews and Correspondence
References
Notes
Index
List of Tables and Images
Tables
1 Multiplex Sites and Screens in Rural Australia
2 Australian Major Exhibitors – Rural Multiplex Screens
3 UK Major Exhibitors – Rural Multiplex Sites, 2012
Images
1 Cromer Pier, Cromer, May 2011
2 Regal Movieplex, Cromer, May 2011
3 First Avenue Cinema, Sawtell, January 2011
4 Ticket Counter and Candy Bar, First Avenue Cinema, Sawtell, January 2011
5 First Avenue (main street), Sawtell, January 2011
6 Mecca Bingo, Great Yarmouth, March 2011
7 The Roxy, Bingara, August 2009
8 Auditorium Interior, The Roxy, Bingara, August 2009
9 The Regal Theatre, Stowmarket, November 2011
10 Candy Bar and Ticket Counter, The Regal Theatre, Stowmarket, November 2011
11 Stowmarket Town Centre, November 2011
12 North Creake Village Hall (venue for film screenings), March 2011
13 Interior The Maltings Theatre, Wells-next-the-Sea following Screeningof The King’s Speech , April 2011
14 Setting Up the Village Screen Mobile Projection Unit, Castle Acre, May 2011
15 Thrandeston Village Green, April 2011
16 Screen in the Barn, Thrandeston, April 2011
List of Abbreviations
ABS Australian Bureau of Statistics ACOFS Australian Council of Film Societies AFC Australian Film Commission AFDC Australian Film Development Corporation BFFS British Federation of Film Societies BFI British Film Institute CEA Cinema Exhibitors Association DCI Digital Cinema Initiatives DFP Digital Funding Partnership (UK) ICAA Independent Cinemas Association of Australia MPDAA Motion Picture Distributors Association of Australia NFSA National Film and Sound Archive NSWFTO New South Wales Film and Television Office P&A Prints and Advertising STFF Sydney Travelling Film Festival VPF Virtual Print Fee
Cinema Case Study Sites
This book is based primarily on field work conducted at rural cinemas in Australia and the UK. The following comprises a list of the key cinema venues that informed the research.
Primary Cinema Case Studies
Large Commercial Cinemas
Birch Carroll and Coyle, Coffs Harbour, New South Wales, Australia Event Cinema, Robina, Queensland, Australia Regal Multiplex, Cromer, Norfolk, UK
Small Commercial Cinemas
The Picture Show Man Cinema, Merimbula, New South Wales, Australia First Avenue Cinema, Sawtell, New South Wales, Australia Hollywood Cinemas, Fakenham, Norfolk, UK
Subsidized Cinemas
The Roxy, Bingara, New South Wales, Australia The Civic Theatre, Gunnedah, New South Wales, Australia The Regal Theatre, Stowmarket, Suffolk, UK
Community Cinemas
Blyth Cinema, South Australia Screen-next-the-Sea, Wells-next-the-Sea, Norfolk Cinema in the Creakes, North Creake, Norfolk, UK
Improvised Cinemas
The Playhouse Hotel Cinema, Barraba New South Wales, Australia Cinema in the Barn, Thrandeston, Suffolk, UK Big Screen, National Film and Sound Archive, Australia
Secondary Cinema Case Studies
In addition to the primary case study sites listed above, a number of other rural cinemas were visited and studied during the course of this research.
Australia
Belgrave Twin Cinema, Armidale, New South Wales Bowraville Theatre, Bowraville, New South Wales Dendy, Byron Bay, New South Wales Forum 6 Cinemas, Tamworth, New South Wales Kinema, Narooma, New South Wales Majestic Cinemas, Nambucca Heads, New South Wales Mallacoota Cinema, Victoria The Plaza Theatre, Laurieton, New South Wales Saraton Theatre, Grafton, New South Wales Savoy Theatre, Cooma, New South Wales Wallis Cinema, Mount Barker, South Australia
UK
Aldeburgh Cinema, Suffolk Bodham Village Hall Film Club, Bodham, Norfolk Cinema City Norwich, Norfolk Empire Cinemas, Sunderland, Tyne and Wear Hollywood Cinemas, East Dereham, Norfolk Hollywood Cinemas, Great Yarmouth, Norfolk Hollywood Cinemas, Norwich, Norfolk Little Theatre, Sheringham, Norfolk North Creake Community Cinema, Norfolk The Maltings Theatre and Cinema, Berwick Upon Tweed, Northumberland Marlingford Village Hall, Norfolk Odeon, Norwich, Norfolk Odeon, Worcester, Worcestershire Vue Cinemas, Norwich, Norfolk
Acknowledgements
This book was made possible by the input and generosity of many people. I am indebted to Kathy Fuller-Seeley for her generous and thoughtful foreword. I am also grateful to Intellect for its interest in the project and in particular to Tim Elameer who has been so helpful and organized through all the different stages of the process.
There would be no book at all without the rural cinema owners, managers, volunteers, audiences, distributors and cinema historians who kindly shared their knowledge and experience with me and gave up their time to participate in interviews and show me their wonderful cinemas. A number of people were particularly generous and I especially thank Anna Balgrave, Kieren Dell, Brian and Sarah Guthrie, David Kilderry, Steve Meggs, Alice Morelli, Denis Parkes, Sean Perkins, Andrew Pike, David Saunders, Andrew Sharpe, Ross Thorne and Susan Wilson.
The research on which this book is based was made possible by financial support from the Australian Research Council under its Linkage Grant scheme, and I warmly thank the industry partners, the National Film and Sound Archive and Screen Australia, for their support and active involvement throughout the project. I am very grateful to Kim Ireland for her initial interest in the idea, and others I worked with later including Anne Landrigan, Jane Cruickshank, Matthew Deaner, Brendan Smith and Jacqui North. The UK component of the research was made possible by the Dingwell Travelling Bursary, Mrs Sarah Dingwell and Griffith University, and an Australian Bicentennial Scholarship from the Menzies Centre for Australian Studies at Kings College London.
This book began as my PhD project and I owe Albert Moran many thanks for helping to guide me so expertly through that process and for his valued advice and collaboration since then. I am also grateful to several other colleagues who directly helped and encouraged me in this research, especially Jock Given, Ailsa Hollinshead, Mark Jancovich, Janna Jones, Ramon Lobato and Lisa Milner. To this I add my sincere thanks to the two anonymous reviewers whose constructive feedback helped to significantly improve the finished product.
Finally on a personal level I wish to thank my husband Peter who has done so much to help and support me in writing this book.
Foreword
In an age where an increasing number of people in industrialized nations have instantaneous access to entertainment through a plethora of digitized options – streaming Internet videos and games on computers, satellite television, electronic devices, cell phones – the very idea of people making the effort to journey for many miles, and to carve out time and space to gather together to watch the screening of a motion picture might seem quaint. Especially if the people live far from urban centres and the convenience of close-by theatres in areas that American big city pundits might dismiss as ‘flyover country’. It is a testament to the powerful human desire for community and localized connections that the inhabitants of rural areas of Australia and the United Kingdom continue to value film exhibition and the act of movie-going in the twenty-first century.
Karina Aveyard reveals with detail and insight the resiliency, ingenuity and entrepreneurship of movie exhibitors and audiences in small towns and countryside settlements. They labour under frequently difficult and always-changing economic and social conditions to foster an equitable access to movies and a shared experience of enjoying them. Aveyard shows how commercial theatres, independent Community Cinemas and volunteer groups adapt to changing technologies that replace older 35mm film projection with the expensive-to-install digital, industrial changes that squeeze the window of first run exhibition increasingly short, and cultural tensions of trying to address the preferences of older residents, the restless younger population and varying taste cultures in making film programming choices.
The story she tells is both specific to the needs and conditions of Australian and British film business and audiences, and one that applies broadly to non-metropolitan areas of Europe, the Americas, Africa and Asia. We need more specific studies like Aveyard’s to better understand the complexity and variety of contexts in which film culture is made today. Motion pictures are produced and consumed globally, but their consumption is equally impacted by distinctive, locally determined factors such as population density, geography, culture, economics and technology. Hollywood film produce