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The Romance Promoter with A Deadline at 11: Rural Exhibitors, Urban Exchanges, and The Emerging Culture of Film Distribution in The United States, 1918–1925
Historical Journal of Film, Radio and Television Pub Date : 2021-08-11 , DOI: 10.1080/01439685.2021.1959698
Martin L. Johnson

One of the many reasons distribution has retained its status as the least understood aspect of commercial film culture has been the absence of records, particularly from the late 1910s and early 1920s, when the studio system was formed in the United States. While historians have persuasively argued that exhibitors helped develop moviegoing culture in the early 20th century, these studies have been limited by their reliance on other forms of public media, including local newspapers, trade magazines, and studio house organs. In this article, I use exhibition and distribution records from two small-town movie theater operations, the Adele Theater in Eatonton, Georgia, a town of just 2,500 people in 1920, and the Low Moor Iron Company’s theaters in its company-owned villages of Low Moor, Virginia, and Kaymoor, West Virginia, in order to reconstruct the emergence of distribution as a standardized, and programmatic, practice.

中文翻译:

截止日期为 11 点的浪漫推动者:1918-1925 年美国农村放映商、城市交流和新兴的电影发行文化

发行一直保持其作为商业电影文化中最不被理解的方面的地位的众多原因之一是缺乏记录,特别是从 1910 年代末和 1920 年代初,当时美国形成了工作室系统。虽然历史学家有说服力地认为,放映商在 20 世纪初帮助发展了电影文化,但这些研究受到了对其他形式公共媒体的依赖的限制,包括当地报纸、贸易杂志和工作室管风琴。在本文中,我使用了两个小镇电影院运营的展览和发行记录,即 1920 年乔治亚州伊顿顿的阿黛尔剧院,该镇只有 2,500 人,以及 Low Moor Iron Company 在其公司拥有的村庄的剧院。弗吉尼亚州的洛摩尔和西弗吉尼亚州的凯摩尔,
更新日期:2021-08-11
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