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Cinema Memories brings together and analyses the memories of almost
a thousand people of going to the cinema in Britain during the
1960s. It offers a fresh perspective on the social, cultural and
film history of what has come to be seen as an iconic decade, with
the release of films such as A Taste of Honey, The Sound of Music,
Darling, Blow-Up, Alfie, The Graduate, and Bonnie and Clyde.
Drawing on first-hand accounts, authors Melvyn Stokes, Matthew
Jones and Emma Pett explore how cinema-goers constructed meanings
from the films they watched - through a complex process of
negotiation between the films concerned, their own social and
cultural identities, and their awareness of changes in British
society. Their analysis helps the reader see what light the
cultural memory of 1960s cinema-going sheds on how the Sixties in
Britain is remembered and interpreted. Positioning their study
within debates about memory, 1960s cinema, and the seemingly
transformative nature of this decade of British history, the
authors reflect on the methodologies deployed, the use of memories
as historical sources, and the various ways in which cinema and
cinema-going came to mean something to their audiences.
Cinema Memories brings together and analyses the memories of almost
a thousand people of going to the cinema in Britain during the
1960s. It offers a fresh perspective on the social, cultural and
film history of what has come to be seen as an iconic decade, with
the release of films such as A Taste of Honey, The Sound of Music,
Darling, Blow-Up, Alfie, The Graduate, and Bonnie and Clyde.
Drawing on first-hand accounts, authors Melvyn Stokes, Matthew
Jones and Emma Pett explore how cinema-goers constructed meanings
from the films they watched - through a complex process of
negotiation between the films concerned, their own social and
cultural identities, and their awareness of changes in British
society. Their analysis helps the reader see what light the
cultural memory of 1960s cinema-going sheds on how the Sixties in
Britain is remembered and interpreted. Positioning their study
within debates about memory, 1960s cinema, and the seemingly
transformative nature of this decade of British history, the
authors reflect on the methodologies deployed, the use of memories
as historical sources, and the various ways in which cinema and
cinema-going came to mean something to their audiences.
Film is often conceived as a medium that is watched rather than
experienced. Existing studies of film audiences, and of media
reception more broadly, have revealed the complexity of viewing
practices and cultures surrounding cinema-going and its exhibition
spaces. Experiencing Cinema offers the first in-depth study of
participant engagement with a range of experiential media forms
derived from cinema culture. From sing-a-long screenings to
theatrical extravaganzas, a broad spectrum of alternative
film-going practices and immersive spaces are explored and analysed
in this original audience study. Moving from intimate community
gatherings to blockbuster urban venues, from isolated farmhouses to
Olympic stadia, Experiencing Cinema considers the lure and value of
these popular events. Often attracting a diverse, intergenerational
range of participants, from early-adopter urban hipsters to DIY
rural communities, the growing demand for participatory cinema
within the contemporary marketplace is analysed alongside broader
debates circulating around the move away from traditional tiered
seating and increased audience mobility and the de-centring of the
film text.
Film is often conceived as a medium that is watched rather than
experienced. Existing studies of film audiences, and of media
reception more broadly, have revealed the complexity of viewing
practices and cultures surrounding cinema-going and its exhibition
spaces. Experiencing Cinema offers the first in-depth study of
participant engagement with a range of experiential media forms
derived from cinema culture. From sing-a-long screenings to
theatrical extravaganzas, a broad spectrum of alternative
film-going practices and immersive spaces are explored and analysed
in this original audience study. Moving from intimate community
gatherings to blockbuster urban venues, from isolated farmhouses to
Olympic stadia, Experiencing Cinema considers the lure and value of
these popular events. Often attracting a diverse, intergenerational
range of participants, from early-adopter urban hipsters to DIY
rural communities, the growing demand for participatory cinema
within the contemporary marketplace is analysed alongside broader
debates circulating around the move away from traditional tiered
seating and increased audience mobility and the de-centring of the
film text.
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