Mapping cinema memories: Emotional geographies of cinemagoing in Rome in the 1950s

Ercole, Pierluigi; Gennari, Daniela Treveri; O’Rawe, Catherine

doi:10.1177/1750698016670793

Cited by 9 publications

(5 citation statements)

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“…The most common forms of digital techniques currently in use are Virtual Reality (VR), Augmented Reality (AR), Mixed Reality (MR), Extended Reality (XR), 3D holographic projection, and 5D holographic projection. These digital techniques and forms of display create an interactive environment which allows visitors to participate in exhibitions in different ways [2,[8][9][10] . Some scholars believe that through a mixture of different disciplines, e.g., archaeology, history, heritage management, and behavioural science, digital interpretation should develop a new interpretative, engaging, and entertaining presentation that is more interactive and engaging for participants to interpret exhibits [11,12] .…”

Section: Digital Technologies Enhance Physical Interactionmentioning

confidence: 99%

Physical Interaction and Psychological Immersion: Analysis of Digital Technologies in Museum Exhibitions

2023

AJHSS

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In contemporary society, digital technologies are increasingly applied in museum exhibitions, in response to both the current digital economy, the experience economy, and the visiting needs. Rather than assessing any technical issues, this study aims to clarify the principles behind digital technologies being used in museum exhibitions through the use of examples and case studies. Based on Csikszentmihalyi's flow experience theory, it will be argued that digital technologies should enhance physical interaction and create psychological immersion. Moreover, the usage of digital technologies is fundamental to improving the intellectual experience for visitors, rather than to show off technology or cater to pleasure.

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Section: Digital Technologies Enhance Physical Interactionmentioning

confidence: 99%

Physical Interaction and Psychological Immersion: Analysis of Digital Technologies in Museum Exhibitions

2023

AJHSS

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“…Some useful models for how we might approach this can be found through the work of scholars affiliated with the HoMER Network (History of Moviegoing, Exhibition, and Reception). Annette Kuhn and Jacqueline Maingard as well as Daniela Treveri Gennari, Pierluigi Ercole, and Catherine O'Rawe have gathered oral histories and analyzed existing oral histories to explore how cinema fit into the social fabric of people's lives in London, Cape Town, and Rome (Kuhn 2002, Maingard 2017, and Ercole et al 2017). The integration of memory studies with media studies brings its challenges.…”

Section: Reception Artifactsmentioning

confidence: 99%

Saving New Sounds

Wade¹,

Hoyt²

2021

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“…In this sense, the curation of the collections is co-produced by its users. This user-led approach to curation is driven not only by having discovered the dominance of the cinema space itself in the memories of this generation, as a source of pride, humour, nostalgia, and identity, but also by the ways in which its very location was 'mapped' onto participants' memories (Ercole et al, 2017). The idea was tested in the Historypin pilot project and, building on the success of this pilot, the use of the digital archive aims to enable interpersonal digital encounters between older people and schoolchildren, empowering the older generation to share ownership of their own cultural history, while at the same time bridging the digital divide.…”

Section: Generationsmentioning

confidence: 99%

Bridging the digital divide: Older adults’ engagement with online cinema heritage

Dibeltulo

Culhane

Gennari

2019

Digital Scholarship in the Humanities

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Is there a way to ensure older adults can bridge the digital divide and engage with online cultural heritage? How can cinema-going memories encourage cross-generational engagement? This article proposes to address these issues by using the Italian Cinema Audiences research project as a case study, and specifically cinema-going memories as intangible cultural heritage (Ercole et al., 2016, Cinema heritage in Europe: preserving and sharing culture by engaging with film exhibition and audiences. Editorial. Alphaville: Journal of Film and Screen Media, 11(Summer): 1–12. Web. ISSN: 2009-4078). It aims to tackle the difficulty of engaging the older generation with the digital world, by proposing and testing new ways to resolve it. Through a mixed-methods ethnographic approach, this article investigates different strategies: the use of social media platforms; a cross-generational activity involving Historypin, a digital, user-generated archive of crowdsourced historical material; an online dedicated archive built in collaboration with the older adults involved in the project. These different solutions aim not only at increasing digital engagement among older adults, but also at furthering younger generations’ involvement in shared cultural heritage in an online context. By focusing on the memories of cinema-going in 1950s Italy, the article explores the implications of the advantages and disadvantages of these different approaches. It also tests Anja K. Leist’s research findings (2013, Social media use of older adults: a mini-review. Gerontology, 59(4): 378–84) on the key role of moderators (the younger generation) to help novice users (the older generation) in the ‘continuous engagement’ in digital environments. We conclude that in order to bridge the digital divide two components are necessary simultaneously: the creation of digital platforms in which the older generations are both curators and users, and the support of and interaction with younger generations.

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Mapping cinema memories: Emotional geographies of cinemagoing in Rome in the 1950s

Abstract: General rightsThis document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/pure/about/ebr-terms 1 | P a g e

Cited by 9 publications

References 20 publications

Physical Interaction and Psychological Immersion: Analysis of Digital Technologies in Museum Exhibitions

Physical Interaction and Psychological Immersion: Analysis of Digital Technologies in Museum Exhibitions

Saving New Sounds

Bridging the digital divide: Older adults’ engagement with online cinema heritage

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