VISIBILITY AND INVISIBILITY OF CINEMAS IN COLONIAL AFRICA: reviving the first scenes
Autor(a) principal: | |
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Data de Publicação: | 2016 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Outros tempos |
Texto Completo: | https://www.outrostempos.uema.br/index.php/outros_tempos_uema/article/view/548 |
Resumo: | Abstract: The cinema had its peak during the 1950s-1970s, but what do we know about the modalities of its diffusion from the beginning of the twentieth century? This paper analyses the success of cinema, a pastime which followed European colonization, through various sources: travellers’ accounts, newspapers, memoirs and recollections of audience members. Entrepreneurs, African or European, played a powerful role as conveyors of modernity by circulating moving images. They were photographers, engineers and merchants. At first, movie shows were sporadic events, taking place in compound yards or hotels; they gradually found permanent locations. While mobile shows sometimes animated village squares, cinemas were built in the main cities. The colonial administration focused its attention on them. But the main model between the two World Wars remained the open-air cinema, protected only at the rear by an awning. This differentiation of spaces was accompanied for the same process for the spectators. The poorest, mainly Africans, were located at the front. Therefore, atmosphere and audience experiences differed greatly. The Audience behavior at open-air shows, where Westerns and action movies dominated, contrasted with more polite behavior in downtown theaters. Keywords: Cinema. Colonialism. Africa. |
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VISIBILITY AND INVISIBILITY OF CINEMAS IN COLONIAL AFRICA: reviving the first scenesVISIBILIDADE E INVISIBILIDADE DOS CINEMAS NA ÁFRICA COLONIAL: revivendo as primeiras cenasCinema. Colonialismo. áfrica.Abstract: The cinema had its peak during the 1950s-1970s, but what do we know about the modalities of its diffusion from the beginning of the twentieth century? This paper analyses the success of cinema, a pastime which followed European colonization, through various sources: travellers’ accounts, newspapers, memoirs and recollections of audience members. Entrepreneurs, African or European, played a powerful role as conveyors of modernity by circulating moving images. They were photographers, engineers and merchants. At first, movie shows were sporadic events, taking place in compound yards or hotels; they gradually found permanent locations. While mobile shows sometimes animated village squares, cinemas were built in the main cities. The colonial administration focused its attention on them. But the main model between the two World Wars remained the open-air cinema, protected only at the rear by an awning. This differentiation of spaces was accompanied for the same process for the spectators. The poorest, mainly Africans, were located at the front. Therefore, atmosphere and audience experiences differed greatly. The Audience behavior at open-air shows, where Westerns and action movies dominated, contrasted with more polite behavior in downtown theaters. Keywords: Cinema. Colonialism. Africa.Resumo: O cinema tem o seu apogeu nos anos 1950-1970, mas o que nós sabemos sobre as modalidades de sua difusão a partir do início do século XX? Este artigo discute o sucesso precoce do cinema, vindo na bagagem de conquista colonial, por meio dos vestígios deixados pelos relatos de viajantes, pela imprensa ou pelas memórias de espectadores. Empresários, africanos ou europeus, desempenharam um importante papel de intermediários da modernidade para garantir o fluxo de imagens em movimento. Eles são fotógrafos, engenheiros, comerciantes. Inicialmente, eventos efêmeros que ocorrem no interior de concessões ou hotéis, as sessões do cinema se fixam pouco a pouco. Enquanto o cinema ambulante anima, esporadicamente, as praças da aldeia, os cinemas são construídos nas grandes cidades. São eles que atraem a atenção dos administradores. O modelo dominante do entre guerras permanece, todavia, aquele dos espaços fechados, a céu aberto, protegidos por um toldo ao fundo. A diferenciação dos lugares corresponde aquela dos públicos: aos mais pobres, majoritariamente africanos, são destinados os lugares da frente. O ambiente das sessões e a experiência dos espectadores variam fortemente segundo o espaço frequentado. As sessões a céu aberto, onde são projetados, sobretudo, filmes de westerns e os filmes de ação, contrastam com aquelas do centro da cidade em que a atmosfera é mais “civilizada”. Palavras-chave: Cinema. Colonialismo. África.Universidade Estadual do Maranhão2016-12-28info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersion"Avaliado pelos pares", "artigo de covidados"application/pdfhttps://www.outrostempos.uema.br/index.php/outros_tempos_uema/article/view/54810.18817/ot.v13i22.548Outros Tempos: Pesquisa em Foco - História; v. 13 n. 22 (2016): Dossiê: Imagem e Imaginário Colonial; 89-1021808-803110.18817/ot.v13i22reponame:Outros temposinstname:Universidade Estadual do Maranhão (UEMA)instacron:UEMAporhttps://www.outrostempos.uema.br/index.php/outros_tempos_uema/article/view/548/pdfCopyright (c) 2016 Outros Tempos: Pesquisa em Foco - Históriainfo:eu-repo/semantics/openAccessGOERG, ODILE2021-03-02T20:17:02Zoai:ojs2.outrostempos.uema.br:article/548Revistahttp://www.outrostempos.uema.br/PUBhttps://www.outrostempos.uema.br/index.php/outros_tempos_uema/oaioutrostempos_revista@yahoo.com.br1808-80311808-8031opendoar:2021-03-02T20:17:02Outros tempos - Universidade Estadual do Maranhão (UEMA)false |
dc.title.none.fl_str_mv |
VISIBILITY AND INVISIBILITY OF CINEMAS IN COLONIAL AFRICA: reviving the first scenes VISIBILIDADE E INVISIBILIDADE DOS CINEMAS NA ÁFRICA COLONIAL: revivendo as primeiras cenas |
title |
VISIBILITY AND INVISIBILITY OF CINEMAS IN COLONIAL AFRICA: reviving the first scenes |
spellingShingle |
VISIBILITY AND INVISIBILITY OF CINEMAS IN COLONIAL AFRICA: reviving the first scenes GOERG, ODILE Cinema. Colonialismo. áfrica. |
title_short |
VISIBILITY AND INVISIBILITY OF CINEMAS IN COLONIAL AFRICA: reviving the first scenes |
title_full |
VISIBILITY AND INVISIBILITY OF CINEMAS IN COLONIAL AFRICA: reviving the first scenes |
title_fullStr |
VISIBILITY AND INVISIBILITY OF CINEMAS IN COLONIAL AFRICA: reviving the first scenes |
title_full_unstemmed |
VISIBILITY AND INVISIBILITY OF CINEMAS IN COLONIAL AFRICA: reviving the first scenes |
title_sort |
VISIBILITY AND INVISIBILITY OF CINEMAS IN COLONIAL AFRICA: reviving the first scenes |
author |
GOERG, ODILE |
author_facet |
GOERG, ODILE |
author_role |
author |
dc.contributor.author.fl_str_mv |
GOERG, ODILE |
dc.subject.por.fl_str_mv |
Cinema. Colonialismo. áfrica. |
topic |
Cinema. Colonialismo. áfrica. |
description |
Abstract: The cinema had its peak during the 1950s-1970s, but what do we know about the modalities of its diffusion from the beginning of the twentieth century? This paper analyses the success of cinema, a pastime which followed European colonization, through various sources: travellers’ accounts, newspapers, memoirs and recollections of audience members. Entrepreneurs, African or European, played a powerful role as conveyors of modernity by circulating moving images. They were photographers, engineers and merchants. At first, movie shows were sporadic events, taking place in compound yards or hotels; they gradually found permanent locations. While mobile shows sometimes animated village squares, cinemas were built in the main cities. The colonial administration focused its attention on them. But the main model between the two World Wars remained the open-air cinema, protected only at the rear by an awning. This differentiation of spaces was accompanied for the same process for the spectators. The poorest, mainly Africans, were located at the front. Therefore, atmosphere and audience experiences differed greatly. The Audience behavior at open-air shows, where Westerns and action movies dominated, contrasted with more polite behavior in downtown theaters. Keywords: Cinema. Colonialism. Africa. |
publishDate |
2016 |
dc.date.none.fl_str_mv |
2016-12-28 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion "Avaliado pelos pares", "artigo de covidados" |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://www.outrostempos.uema.br/index.php/outros_tempos_uema/article/view/548 10.18817/ot.v13i22.548 |
url |
https://www.outrostempos.uema.br/index.php/outros_tempos_uema/article/view/548 |
identifier_str_mv |
10.18817/ot.v13i22.548 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://www.outrostempos.uema.br/index.php/outros_tempos_uema/article/view/548/pdf |
dc.rights.driver.fl_str_mv |
Copyright (c) 2016 Outros Tempos: Pesquisa em Foco - História info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2016 Outros Tempos: Pesquisa em Foco - História |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade Estadual do Maranhão |
publisher.none.fl_str_mv |
Universidade Estadual do Maranhão |
dc.source.none.fl_str_mv |
Outros Tempos: Pesquisa em Foco - História; v. 13 n. 22 (2016): Dossiê: Imagem e Imaginário Colonial; 89-102 1808-8031 10.18817/ot.v13i22 reponame:Outros tempos instname:Universidade Estadual do Maranhão (UEMA) instacron:UEMA |
instname_str |
Universidade Estadual do Maranhão (UEMA) |
instacron_str |
UEMA |
institution |
UEMA |
reponame_str |
Outros tempos |
collection |
Outros tempos |
repository.name.fl_str_mv |
Outros tempos - Universidade Estadual do Maranhão (UEMA) |
repository.mail.fl_str_mv |
outrostempos_revista@yahoo.com.br |
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1797067032787681280 |