With changing technologies and social habits, the communal cinema experience would seem to be a legacy from another era. However, the last decade has seen a surge in interest for screening films in other, temporary public settings. This desire to turn pubs, galleries, parks, and even boats, into temporary cinema spaces is moved not only by a love for movies, but also a search for ways of being and working together. This book documents current practices of pop-up and site-specific cinema exhibition in the UK (with a focus on Scotland), tracing their links with historical forms of non-theatrical exhibition such as public hall cinema and fairground bioscopes. Through archival research, observation and interviews, the project asks how exhibitors create ephemeral social spaces, and how the combination of film and venue reinvents cinema as device and as social practice.
- Cover
- Table of Contents
- Introduction
- The structure of the book
- 1. Unstable constellations: Recognizing cinema out of place
- 1.1. Configurations
- 1.2. Protocols
- 1.3. Conclusion
- 2. Relocations: Mapping the
non-theatrical field in Scotland
- 2.1. The fieldwork sample
- 2.2. Non-theatrical
- 2.3. Ephemeral
- 2.4. Pop-up
- 2.5. Improvised and insterstitial
- 2.6. Early ephemeral cinemas
- 2.7. Conclusion
- 3. A desire for the civic: Community cinemas and volunteer work
- 3.1. Social value
- 3.2. Public hall cinema
- 3.3. Community cinema
- 3.4. Case studies
- 3.5. Conclusion
- 4. Film clubs and subcultural cinephile spaces
- 4.1. Film cultures
- 4.2. Alternative exhibition in Glasgow
- 4.3. Glasgow film clubs
- 4.4. Producing spaces of cinephilia
- 4.5. Negotiating abundance and obsolescence
- 4.6. Conclusion
- 5. On the ground: Participatory screenings in everyday spaces
- 5.1. Archive film and local audiences
- 5.2. Spaces for action
- 5.3. Pop-up cinema as a site for public discussion
- 5.4. Conclusion
- 6. Crafting the extraordinary:
site-specificity and liveness
- 6.1. An unrepeatable experience
- 6.2. Enhanced cinema: the pleasures of space
- 6.3. Site-specific programming
- 6.4. Expanded and expansionist cinema
- 6.5. Liveness
- 6.6. Conclusion
- 7. Against enclosure: DIY exhibition as prefigurative action
- 7.1. Tactical urbanism
- 7.2. Publicness and commoning
- 7.3. DIY and disalienated work
- 7.4. Home Cinema
- 7.5. Networks
- 7.6. Conclusion
- Coda
- Acknowledgements
- About the author
- Bibliography
- Index
- List of figures
- Figure 1: Locations of screenings attended in Scotland
- Figure 2: Age of films screened at Scottish community cinemas, 2016-2017 season
- Figure 3: Dalry Town Hall Cinema. Linocut print by Marta Adamowicz, 2019
- Figure 4: The Old Hairdressers, Glasgow. Linocut print by Marta Adamowicz, 2019
- Figure 5: Radical Film Archive at the Laurieston Arches, Glasgow. Linocut print byMarta Adamowicz,2019
- Figure 6: Pollywood at Pollokshields Playhouse, Glasgow. Linocut print by Marta Adamowicz, 2019
- Figure 7: Cinemor77 yurt cinema. Linocut print by Marta Adamowicz, 2019
- Figure 8: The Peccadillo houseboat, a Radical Home Cinema venue. Linocut print by MartaAdamowicz, 2019
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