Distribution and Exhibition in The Netherlands, 1934–1936

Pafort-Overduin, Clara

doi:10.1002/9781444396416.ch6

Cited by 5 publications

(3 citation statements)

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“…Indeed, during the years 1934 to 1936 only 27 Dutch features were made. 23 However, unlike the partial popularity of the two Gracie Fields films in the British market, the popularity of indigenous cinema in Utrecht reflected a nationwide liking for Dutch films. In particular the extremely high POPSTAT Index score garnered by De Jantjes (1934), was repeated across the Netherlands.…”

Section: Film Popularitymentioning

confidence: 99%

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Identifying Cinema Cultures and Audience Preferences

Pafort-Overduin

Sedgwick

Vijver

2018

TMG

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For this study we have adopted a comparative approach to better understand the regularities and differences of cinema markets and cultures. Our subject is the film preferences and choices of audiences in the cities of Ghent (Belgium), Utrecht (Netherlands) and Bolton (United Kingdom) in 1934 and 1935. Saturday, January 5th, 1935 serves as a pivotal date and the starting point for analysis of the film programming data of these three cities. Our findings show that by adopting a comparative approach it is possible to detect ‘unique’ titles that reflect the peculiarities of the local film culture. The data confirms that audiences in Bolton, Ghent, and Utrecht were attracted strongly to films originating in their own or neighbouring countries, particularly if they contained elements of song and dance.

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Section: Film Popularitymentioning

confidence: 99%

“…1 John Sedgwick, Clara Pafort-Overduin and Jaap Boter identify and explain the peculiarities of the Dutch cinema market by comparing it to that of the UK and in doing this conjecture reasons for the restrained development of the Dutch market. 2…”

Section: Introductionmentioning

confidence: 99%

Identifying Cinema Cultures and Audience Preferences

Pafort-Overduin

Sedgwick

Vijver

2018

TMG

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“…En 2011 Richard Maltby, estipuló que en los últimos diez años una nueva tendencia mundial en la investigación de la historia del cine había modificado su Holanda (Hogenkamp, 2005;Van Oort, 2005;Pafort-Overduin, 2011), Suecia (Jernudd, 2012), Reino Unido (Hark, 2002;Jancovich, et al, 2003;Burrows, 2004a;2004b;Jancovich, 2007;Moitra, 2012), República Checa (Szczepanik, 2012), y los Estados Unidos (Waller, 2002;Abel, 2007;Gaines, 2007;Glancy y Sedgwick, 2007;Lindvall, 2007;McKenna, 2007). La mayoría de los estudios de la Nueva Historia del Cine, orientados en la exhibición y programación cinematográficas, se han realizado en los Estados Unidos, Reino Unido, Europa y Australia.…”

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Exhibición y programación cinematográfica en la ciudad y puerto de Veracruz, México 1952/ Film exhibition and programming in the city and port of Veracruz, Mexico 1952

2020

RCS

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Resumen Dentro de la perspectiva teórica de la Nueva Historia del Cine, se pondera la exhibición y programación de películas en la ciudad y puerto de Veracruz en el año de 1952. El propósito del proyecto internacional Cultura de la Pantalla, ha sido presentar estudios fuera de Europa y Estados Unidos, como sucede en varias ciudades mexicanas, que permita contrastar factores sociales, culturales y económicos que influyen en la oferta cinematográfica y especificar la ubicación de las salas de cine, así como su programación en una determinada época, representando el objetivo del presente artículo. Se fundamenta en la investigación documental de archivos de la ciudad de Veracruz y revisión de carteleras cinematográficas publicadas los sábados de 1952 en el periódico El Dictamen. Entre los resultados destacan: Presencia histórica de películas de Estados Unidos, México y otras partes del mundo, así como auge de exhibición de filmes nacionales durante la época de oro del cine mexicano (1940-1952). Se concluye que se muestran patrones similares en salones cinematográficos de Torreón, Tampico-Ciudad Madero y Veracruz, a los identificados en ciudades norteamericanas y europeas, localizados mayormente en su centro urbano, con similar vinculación sensitiva de sus habitantes, formando parte de su entorno y vida cotidiana. Abstract Within the theoretical perspective of the New History of Cinema, the exhibition and programming of films in the city and port of Veracruz in 1952 is weighed. The purpose of the international project Culture of the Screen has been to present studies outside of Europe and the United States, as it happens in several Mexican cities, which allows contrasting social, cultural and economic factors that influence the cinematographic offer and specifying the location of the cinemas, as well as their programming at a certain time, representing the objective of the present Article. It is based on the documentary investigation of archives of the city of Veracruz and a review of film billboards published on Saturdays in 1952 in the newspaper El Dictamen. Among the results, the following stand out: Historical presence of films from the United States, Mexico and other parts of the world, as well as a boom in the exhibition of national films during the golden age of Mexican cinema (1940-1952). It is concluded that similar patterns are shown in cinemas of Torreón, Tampico-Ciudad Madero and Veracruz, to those identified in North American and European cities, located mostly in their urban center, with similar sensitive links of their inhabitants, forming part of their environment and daily life.

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