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InProceedings (Aufsatz / Paper einer Konferenz etc.) zugänglich unter

Influence of the female audience on the program structure of early cinema and the changes of the modes of reception (1906-1918)

Haller, Andrea

Dokument 1.pdf (2.056 KB)

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SWD-Schlagwörter: Film , Deutschland / Geschichte 1871-1918 , Filmprogramm , Weibliches Publikum, Filmtheater / Publikum ,
Freie Schlagwörter (Deutsch): frühes Kino, Stummfilm, weibliches Kinopublikum, Kaiserreich, Kinoprogramm
Freie Schlagwörter (Englisch): early cinema, silent film, female cinema audience, audience studies, programming strategies, Imperial Germany
Institut: Medienwissenschaft
DDC-Sachgruppe: öffentliche Darbietungen, Film, Rundfunk
Dokumentart: InProceedings (Aufsatz / Paper einer Konferenz etc.)
Sprache: Englisch
Erstellungsjahr: 2004
Publikationsdatum: 23.03.2006
Kurzfassung auf Englisch: In my paper I will talk about the mutual influences between the female spectators and the programming practices of Imperial Germany’s cinema. I will focus on the period of the transition from the short film programme of the “cinema of attractions” to the dominance of the long feature film, i.e. from 1906-1918. I will ask questions how the presence of women in the cinema (the place where they first entered the public sphere) influenced the practice of programming. So I will deal with the relatively new topic of the programme (and its structural changes) as a mode of exhibition and I will try to connect this to the role the female audience played in shaping this format: how does the female audience affect the changes of the programme patterns, the modification of genres and their meaning within the structure of the programme and does it finally bring about a change in the mode of reception. And on the other hand how does the cinematographical programme represent and influence the female identity, and women’s wishes and needs.
One must ask for the reasons why the early cinema, that was characterised by diversity concerning class, gender and cultural issues and that built a kind of alternative public sphere, was displaced by an institutionalised, state monitored and nationalised German cinema.
Taking into account that this change of film forms was not a teleological evolution, “gender” might be a more useful and insightful category than “class” is to explain the changes of the programme and the essence of early cinema.
First I am going to present the main ideas of my project, then I’ll talk about the composition of the audience and the relation between audience and program, after that I’ll make some remarks on the reform movement and what the reformers thought about women in the cinema and about the programming practices, and as a last part, we’ll have a look at what actually happened in the cinema and at the program of the year 1911/1912 and how this program catered to the interests of the female audience. I‘ll conclude with a short outlook on the changes that occurred during WW I.

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