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

On Assemblage Method

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The intervention of this project in exploring a research topic as overdetermined as the Zoot Suit Riots will be to focus on the centrality of the movie theater in the written and audio-visual material documenting and restaging this event. Many studies from the last decade have already yielded excellent insights on the cultural histories and narratives associated with the so-called riot, but have rarely devoted significant time to considering the importance of public space in staging the riots that took hold of the nation in the summer of 1943. This project will emphasize how the movie theater shaped both the mediascape that served as the background to the violent encounters during the riots and the cultural remembering of these events in Chicano/a history. In drawing these connections, between the various accounts, visual materials and cultural narratives about this period, an assemblage or collage narrative will emerge from the juxtaposition of these different elements. In the space between these collisions, I hope to challenge the suppressions and separations that have traditionally framed the Zoot Suit Riots. Just as Alvarez provides a model for bringing together Black and Mexican American zooters, siloed local and regional histories of the violent wartime events that took hold in 1943, I use Scalar to forge a spatio-visual assemblage of elements that brings together written histories and audio-visual materials to review accounts of the ethnic-racialized spectator in and out of the movie theater. I am interested in how these public spaces were simultaneously sites of pleasure and danger for American audiences of color during this period. The assemblage approach of multimodal historiography, enabled by database logics, reveals unanticipated connections between the fictional and non-fictional, physical and psychological, lived and represented experiences of various racial groups affected by the violent conflicts that took place in 1943. Multimodal assemblage introduces a mediation of these events that builds on, but is also distinct from, earlier forms of mediation – filmic, journalistic, novelistic, historiographic – that have framed this event.
 

This page has paths:

  1. Pachuco Goes to the Movies Veronica Paredes
  2. Ejected Spectators and Inactive Users: Locating Multimodal Historiography In Repurposed Media Spaces Veronica Paredes

Contents of this tag:

  1. Toward Post Cinema History