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Marquee Survivals: A Multimodal Historiography of Cinema's Recycled SpacesMain MenuIntroductionMarquee Survivals: A Multimodal Historiography of Cinema's Recycled SpacesIntroduction, StartMarquee Survivals: A Multimodal Historiography of Cinema's Recycled SpacesHistories ConcealedHistories Concealed landing pageProjecting 1943Sense of PachucaBroadway as BackgroundSplash page for Broadway as Background / Background as BroadwayPhoto Essay: Marquee StoriesIntro to photo essay: Marquee StoriesPrototypesExploring project prototypesPortfolioEjected Spectators and Inactive Users: Locating Multimodal Historiography In Repurposed Media SpacesVeronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bc
12015-05-29T00:25:14-07:00Veronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bc34291State Attorney General Robert W. Kenny and members of a citizens' committee are shown when they met, Saturday, June 12, 1943 and opened investigations of the zoot suit riots in Los Angeles. Left to right, Kenny, Dr. Willsie Martin, Karl Holton, Bishop Joseph T. McGucken, and Walter Gordon.plain2015-05-29T00:25:15-07:00Veronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bc
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12015-05-28T18:27:48-07:00Blood on the Pavement10plain2015-09-22T00:44:47-07:00The Zoot Suit Riots have been exhaustively covered by historians, sociologists, journalists, psychologists, and anthropologists from various time periods, and though scenes in theaters such as RKO, Bijou, Carmen and Orpheum appear in nearly every account that recalls that week of “rioting,” the significance and recurrence of this theatrical context has rarely been explored. During the Zoot Suit Riots, sailors strayed from official strategies of war, and designed and mobilized their own agendas of violence. Though they would be reprimanded by a Governor’s Citizens Committee and First Lady Eleanor Roosevelt publicly, and their own systems of authority privately, the damage they caused to the collective psyche and cultural memory of Mexican Americans in Los Angeles would be much more elusive and difficult to document. This section collects accounts from this significant event in Los Angeles’ Chicano history, focusing on what it means that these stories feature the movie theater as a backdrop.
