Distributie en exploitatie van film te Gent. Een historische typologie op basis van de programmeringsprofielen

Abstract

Lies Van de Vijver dIStrIbutIe en exploItatIe van fIlm te gent Een historische typologie op basis van de programmeringsprofielen Distribution and exhibition in Ghent. A historical typology based on programming profiles This article analyzes how local distribution and exploitation of film functions based on the specificity and historical characteristics of the Ghent film market over a course of thirty years. Three distinct concepts, the offer, popularity and circulation of mostly foreign film are analyzed by means of programming listings in the local newspapers as an alternative method for analyzing financial data. The article shows the continuous popularity of French cinema and the postponed popularity of American film. Longitudinal programming profiles of the cinemas show distinct programming strategies according to the origin of the films to attract different audiences and the analyses of the film circulation throughout the city cinemas show a rather flux hierarchy in the exhibition market defined by its locality Filmstudies richtten zich sinds hun opkomst in de jaren zestig vooral op de stilistische en narratieve dimensies van het medium. Veel filmonderzoek vertrok dan ook vanuit individuele filmteksten waarbij niet of slechts zijdelings werd verwezen naar de historische en sociale context waarin een film werd geproduceerd en vertoond. 1 Sinds de jaren zeventig kwam daar enigszins verandering in. 2 Robert C. Allen en Douglas Gomery pleitten er in hun boek 'Film History. Theory and Practice' voor om historische documenten over technologische, sociale, economische of esthetische ontwikkelingen te integreren in filmonderzoek. 3 Ze schreven dat filmgeschiedenis hoofdzakelijk een vaak lineaire en evaluatieve geschiedenis was van productie, pro

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“…Most of the center cinemas were highly profiled based on their program; some center cinemas were known to program risqué French cinema (as was the case for the Savoy), German and Austrian sing-along (as was the case for the Plaza) or British espionage (as was the case for the Select). The district cinemas and suburb cinemas were less identifiable by program choice, but the film distribution did have a geographical flow from center to districts and then suburbs (Van de Vijver, 2012). Language was not at all insignificant in Ghent; French was used as a distinction mechanism by the higher social classes.…”

“…Previous research on the film exhibition structure in Ghent has proven that there were quite clear programming strategies developed over the years in the cinemas (Van de Vijver, 2012). The number of cinemas dropped from 34 in 1937 to only 11 in 1982.…”