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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
Rafael at stall in Broadway Trade Center (2014)
12015-06-02T23:04:27-07:00Veronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bc34291Rafael, a video store owner, relocated to Broadway Trade Centerplain2015-06-02T23:04:27-07:00Veronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bc
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12015-06-02T07:58:47-07:00Veronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bcOriginal PhotosVeronica Paredes10Tag for original photos (Broadway as Background)gallery2015-06-04T02:21:55-07:00Veronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bc
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12015-06-10T07:00:58-07:00Photo Essay: Marquee Stories20Intro to photo essay: Marquee Storiesplain1599302015-07-19T10:11:19-07:00
Oral histories with cinema audience members...consistently tell us that the local rhythms of motion picture circulation and the qualities of the experience of cinema attendance were place-specific and shaped by the continuities of life in the family, the workplace, the neighbourhood and community.
In his introductory essay to Explorations in New Cinema History, Richard Maltby identifies critical ways that distinguish new cinema history from reception studies. Crucially, the former recognizes the social and spatial in experiences of cinemagoing, rather than limiting analysis of the engagement audiences experience with cultural texts by focusing on interpretation or decoding. Much of the literature currently identifying with new cinema history focuses on the connections enacted with other places and practices through the simple act of moviegoing, linking the spaces and places of cinema to community, personal and cultural memory, class identification and mobility, and ethnic and/or national identification. Future research on this topic would do well to more fully engage practices of oral history, but ideally with the combined efforts of “archival research in corporate records and local and trade press” -- specifically in Spanish-language press, as Laura Isabel Serna and Colin Gunckel have explored for the first half of the twentieth century -- and “tracking [of] programming and exhibition patterns” in order to produce a “social geography” of Downtown Los Angeles’ Spanish-language cinemas throughout the 1970s and 80s. This section gestures toward this framework, while making no claims to accuracy or authenticity of cultural memory. Included are excerpts from one set of interviews conducted with Francisco (Pancho), who currently works at the Million Dollar Farmacia with his wife, Lizbeth; and Rafael, who ran the Discoteca 2000 video stall in the Broadway Arcade until relocating to the Broadway Trade Center in 2014. Both men worked at or near the Million Dollar Theatre after arriving in the United States from Mexico in the 1980s.
