Titlebook: Rural Cinema Exhibition and Audiences in a Global Context; Daniela Treveri Gennari,Danielle Hipkins,Catherine Book 2018 The Editor(s) (if

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Projecting Modernity: Sol Plaatje’s Touring Cinema Exhibition in 1920s South Africa both primary and secondary sources, this chapter discusses Plaatje’s perceptions of cinematic representation and race, how he acquired films in Britain, Canada, South Africa, and the USA, as well as a projector in the USA and a generator in South Africa. This provides the context for a discussion o

EXALT

Controlling Rural Cinemagoing by Appropriating a Film Format: The Catholic Adventure of ‘Pathé-Ruraltation and control of rural cinemagoing practices in France before the Second World War. Baptized the ‘Pathé-Rural’, the 17.5 mm projector was the keystone of Pathé’s policy of .. The reduced film format was thought to permit the opening of the rural market, helping cinema’s commercial diffusion in

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UNESCO, Mobile Cinema, and Rural Audiences: Exhibition Histories and Instrumental Ideologies of the rld. The report published by UNESCO in 1949 on . surveys the extending geography of cinema and supporting media into rural areas, enabling some audiences to experience film for the first time in their lives. It is tempting to regard this cinema as a local, intimate, and communal return to the itiner

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Reconsidering Post-Revolutionary Cultural Change: Rural Film Projection Teams in Shaanxi Province, 1ive Year Plan (1953–1957), focusing on rural film teams in Shaanxi province. It argues that the rural film projection network emerged gradually and, once constructed, showed strong signs of local variation even below the provincial level. National and provincial administrators aimed to create a unif

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