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Marquee Survivals: A Multimodal Historiography of Cinema's Recycled Spaces Main Menu Introduction Marquee Survivals: A Multimodal Historiography of Cinema's Recycled Spaces Introduction, Start Marquee Survivals: A Multimodal Historiography of Cinema's Recycled Spaces Histories Concealed Histories Concealed landing page Projecting 1943 Sense of Pachuca Broadway as Background Splash page for Broadway as Background / Background as Broadway Photo Essay: Marquee Stories Intro to photo essay: Marquee Stories Prototypes Exploring project prototypes Portfolio Ejected Spectators and Inactive Users: Locating Multimodal Historiography In Repurposed Media Spaces

Broadways Concealed

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Linked by the metonymic street name for entertainment in the United States, South Broadway in Los Angeles and Broadway in Upper Manhattan are both home to movie theaters that survived through the 20th century. Though they are located in settings very distinct from one another, they are both distinct from the signified location conjured by the sign “Broadway.” Manhattan is the borough that houses both the United Palace Cathedral and the portion of Broadway around Forty-second Street (though the boundaries of this district have also shifted over time) “that became metonym[ic] for [its] most important business."

Just as the representation, or the imagined idea, of “Broadway” does not align with the current composition of Washington Heights, the neighborhood that surrounds United Palace, Los Angeles’ Broadway also presents challenges to a nostalgic rendering of an entertainment center. Although the name’s origins in Dutch are lost in the adaptation of the street name in cities across the US, Broadway’s symbolic relationship to the theater and entertainment industries in Manhattan remain.

Well known theorists of space and place Henri Lefebvre and Michel de Certeau detail how the everyday experiences of space affect not only the lives of community members, but also the urban landscape itself. Social and political relations, which include complicated ideological assumptions, and everyday practices produce space.

Works in Latino urban studies are also relevant to demonstrating how race also affects these processes. They focus on how practices of constructing place specifically intersect with how racial formation, within Latino communities and culture, affects political empowerment and/ or alienation: examples include Victor M. Valle and Rodolfo D. Torres’ Latino Metropolis and Raúl Homero Valle’s Barrio-Logos: Space and Place in Urban Chicano Literature and Culture, which provide histories and case studies for Los Angeles; and Ana Aparicio’s Dominican-Americans and the Politics of Empowerment, which examines Washington Heights. While these monographs are not concerned specifically with Broadway, they nonetheless produce frameworks for considering the historical and political development (and in the case of Barrio-Logos, cultural as well) for Latino/a communities in the places that could be overshadowed by the symbolic dimension of an overdetermined American street name like Broadway.

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  1. Histories Concealed Veronica Paredes

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