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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
Crowd formed around the aftermath of an attack
12015-05-29T12:59:04-07:00Veronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bc34292Notice movie bill visible at the photo's top edgeplain2015-05-29T12:59:35-07:00Veronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bc
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12015-05-28T18:36:40-07:00Veronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bcMovie Theater as a Site of Violence IIVeronica Paredes9plain2015-06-28T14:36:13-07:00Veronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bc
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12015-05-28T18:36:40-07:00Veronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bcMovie Theater as a Site of Violence II9plain2015-06-28T14:36:13-07:00Veronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bc
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12015-05-28T18:36:40-07:00Movie Theater as a Site of Violence II9plain2015-06-28T14:36:13-07:00For audiences of color in the United States during the Second World War, exclusion from American culture was not only apparent on the screen through absences of representation, or on the flip side of that, by the presence of grotesque caricatures in films. Exclusion was also manifested physically and violently as spectators were literally dragged from their potential seats of identification and beaten on the city’s public streets during this week in June 1943. Ejected from theaters, they were thrown out onto the streets of Alpine, Figueroa, Hill and Broadway. What did the experience of this disruption of cinematic spectatorship feel like? What are the possible affective dimensions of representing this traumatic scene in Chicano history? While many of the brief nonfiction accounts I have highlighted here from historians, scholars, and journalists, frame their stories’ identification with the young Mexican American men primarily through violent moments of victimization, fictional examples from literary and cinematic forms, as well as film studies scholarship, allows for more sustained engagement not only with character development, but with themes that examine the nature of identification as it is enacted inside and outside of the movie theater.
