Movie magazines are crucial but widely underused sources for writing the history of films and cinema. This volume brings together for the first time a wide variety of historic research of movie magazines and film trade journals, reflecting on the issue of using these sources for film/cinema historiography and on the impact of digitization processes. Mapping Movie Magazines explores this debate from different disciplinary perspectives, enlightened by case studies from the use of early film trade press to pedagogical uses of digitized periodicals. The volume explores Hollywood's grip on movie magazines, gender in film journalism, typologies of unknown trade press and movie magazine markets, and subversive Tijuana bibles.

Runner-Up for BAFTSS Best Edited Collection 2021 Offers analyses of movie magazines originating from the USA, Canada, the UK, France, Germany, the Netherlands, Belgium, Chile, South Africa, and more Contributors deal with diversified case studies as Hollywood's grip on movie magazines, gender in film journalism, typologies of unknown trade press and movie magazine markets, and subversive Tijuana bibles Provides a unique interdisciplinary contribution across fields ranging fro mFilm Studies, Digital Humanities, Periodical Studies, Political Economy, and Cultural History

Autorentext

Daniel Biltereyst is Professor of Film and Media Studies at Ghent University, Belgium, where he leads the Centre for Cinema and Media Studies. He recently edited The Routledge Companion to New Cinema History (2019).

Lies Van de Vijver is a postdoctoral researcher at the Centre for Cinema and Media Studies, Ghent University, Belgium, and co-investigator and project manager of European Cinema Audiences (AHRC), a comparative research into cinema audiences in the 1950s.

Inhalt

Introduction: Movie Magazines, Digitization and Film Historiography; Daniel Biltereyst & Lies Van de Vijver

Part A. Writing Film History.- 1. Nobody Knew: Digital Humanities, Ephemeral Evidence and the Challenges of New Cinema History; Judith Thissen & Paula Eisenstein-Baker.- 2. Variety's Transformations: Digitizing and Analyzing the First 35 Years of a Canonical Trade Paper; Eric Hoyt.- 3. Periodical studies, Intermediality and Cinema: Film in The Listener; Birgit Van Puymbroeck.- 4. Film Paedagogy in the Age of Digitalization: Film Adverts from Trade and Local Papers for the Importing Asta Nielsen Database; Martin Loiperdinger Part B. Mapping.- 5. Popular Films and Popular Spectatorship in Post-war France; Geneviève Sellier.- 6. Mapping the Dutch Film Magazine Market, 1920s-1960s; Thunnis Van Oort.- 7. Hollywood Imaginaries at the End of the World: Chile's Ecran and the Construction of the International Industry from the Periphery; María-Paz Peirano.- 8. Drumming Up Audiences: Movie Magazines, Pictorials, and Cinema History in South Africa, from 1915 to 1969; Jacqueline Maingard.- Part C. Industry.- 9. Gross Inaccuracies, Misrepresentations, and Exaggerations: The Motion Picture Industry's Clean-up of Movie Fan Magazines in 1934; Mary Desjardins.- 10. Types in Type: Genres of Film Trade Journalism and Canada's Motion Picture Weeklies; Jessica Whitehead, Louis Pelletier, and Paul S.Moore.- 11. Movie Magazine Madness. Mapping the 1930s in Belgium; Lies Van de Vijver.- 12. Intimate Communications: British Fan-Club Magazines and their Readers; Steve Chibnall and Ellen Wright.- 13. Film History and the Neglect of the Adults-Only Sex Film Magazine, 1963-1983; David Church.- Part D. Authors, Stars, Fans.- 14. Auteurs Avant la Lettre? Using Digital Movie Magazine Collections to Study Audiences' Perception of Classical Hollywood Directors; Dominic Topp.- 15. At Least a Dozen Joan Crawfords: Gender Ideology in Classical Hollywood Film Journalism, 1925-1940; Kathleen Feeley.- 16. Early Dutch Movie Magazines and Interactive Fandom; André van der Velden.- 17. Looking at the Movie Fans: On Pictures Published in the French Film Magazines of the Interwar Years; Myriam Juan.- 18. Coming Attractions: Tijuana Bibles and the Pornographic Re-imagining of Hollywood; Phyll Smith and Ellen Wright.