LEADER 03695nam 22005535 450 001 9910647292403321 005 20230623182031.0 010 $a90-485-5572-8 024 7 $a10.1515/9789048555727 035 $a(CKB)26154152400041 035 $a(DE-B1597)638118 035 $a(DE-B1597)9789048555727 035 $a(MiAaPQ)EBC30406518 035 $a(Au-PeEL)EBL30406518 035 $a(OCoLC)1370993568 035 $a(OCoLC)1374540769 035 $a(EXLCZ)9926154152400041 100 $a20230328h20232023 fg 101 0 $aeng 135 $aur||#|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aFilm Societies in Germany and Austria 1910-1933 $eTracing the Social Life of Cinema /$fMichael Cowan 205 $a1st ed. 210 1$aAmsterdam :$cAmsterdam University Press,$d[2023] 210 4$dİ2023 215 $a1 online resource (274 p.) 225 1 $aFilm Culture in Transition 327 $tFrontmatter --$tTable of Contents --$tList of Illustrations --$tIntroduction : What Was a Film Society? Towards a New Archaeology of Screen Communities --$t1. The Knowledge Community : The Birth of the Film Society from the Spirit of Amateur Science --$t2. The Professional Community : Conceptualizing the Film Industry in the Deutsche Kinotechnische Gesellschaft --$t3. Communities of Love : Cinephilic Film Clubs, Movie Magazines and the Viennese Kinogemeinde --$t4. The Skeptical Community : Left-Wing Film Societies and the Making of the Suspicious Spectator --$tAfterword: What?s in an ?Idea?? --$tBibliography --$tIndex 330 $aThis study traces the evolution of early film societies in Germany and Austria, from the emergence of mass movie theaters in the 1910s to the turbulent years of the late Weimar Republic. Examining a diverse array of groups, it approaches film societies as formations designed to assimilate and influence a new medium: a project emerging from the world of amateur science before taking new directions into industry, art and politics. Through an interdisciplinary approach?in dialogue with social history, print history and media archaeology?it also transforms our theoretical understanding of what a film society was and how it operated. Far from representing a mere collection of pre-formed cinephiles, film societies were, according to the book?s central argument, productive social formations, which taught people how to nurture their passion for the movies, how to engage with cinema, and how to interact with each other. Ultimately, the study argues that examining film societies can help to reveal the diffuse agency by which generative ideas of cinema take shape. 410 0$aFilm culture in transition 606 $aMotion pictures$xSocial aspects$zAustria$xHistory$y20th century 606 $aMotion pictures$xSocial aspects$zGermany$xHistory$y20th century 606 $aMotion pictures$xSocieties, etc$xHistory 606 $aHISTORY / Europe / Germany$2bisacsh 610 $aFilm societies, German cinema, Austrian cinema, film culture, film journals, media archaeology, scientific film, film industries, cinephilia, film activism. 615 0$aMotion pictures$xSocial aspects$xHistory 615 0$aMotion pictures$xSocial aspects$xHistory 615 0$aMotion pictures$xSocieties, etc.$xHistory. 615 7$aHISTORY / Europe / Germany. 676 $a791.4306043 700 $aCowan$b Michael$4aut$4http://id.loc.gov/vocabulary/relators/aut$01277878 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910647292403321 996 $aFilm Societies in Germany and Austria 1910-1933$93358856 997 $aUNINA