{"product_id":"picturegoers-a-critical-anthology-of-eyewitness-experiences-9781804130124","title":"Picturegoers: A Critical Anthology of Eyewitness","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eThis book is a carefully selected, thematically arranged collection of eyewitness accounts of seeing motion pictures – from the 1890s to the present day, and from countries across the globe. Included are essays, diaries, memoirs, travel accounts, oral history interviews, poems and extracts from novels. These verbatim accounts – from both professional and amateur writers – have been selected not only for what they tell us about the historical experience of cinema in many countries, but also for their literary value. Here is evocative testimony that shows how deeply cinema touches emotional needs, and the huge impact that the cinema has had on modern society.\u003c\/p\u003e  \u003cp\u003eWhile most film history studies are centred on films or those who produce them, \u003cem\u003ePicturegoers\u003c\/em\u003e puts the voices of the audience first. It analyses and celebrates the audience’s point of view, shaped by time, experience and place, providing a rich, entertaining portrait of a medium that became so transformative precisely because anyone, rich or poor, educated or not, could share in it.\u003c\/p\u003e  \u003cp\u003eThe book will appeal to scholars interested in the relationship between cinema and society, those engaged in audience studies, and general readers interested in world cinema history.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cstrong\u003eContents\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e \u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003e\u003cem\u003eAcknowledgements\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003e\u003cem\u003eList of Illustrations\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003e\u003cem\u003e \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eIntroduction\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eFirst Encounters\u003c\/strong\u003e\u003c\/p\u003e  \u003col\u003e\n\u003cli\u003eAnon., ‘Department of Physics’\u003c\/li\u003e\n\u003cli\u003eAnon., ‘Magic Lantern Kinetoscope’\u003c\/li\u003e\n\u003cli\u003eAnon., ‘Sporting Notions’\u003c\/li\u003e\n\u003cli\u003eMaxim Gorky, ‘Last Night I Was in the Kingdom of Shadows’\u003c\/li\u003e\n\u003cli\u003eJean Renoir, ‘My Life and My Films’\u003c\/li\u003e\n\u003cli\u003eJunichiro Tanizaki, ‘Childhood Years’\u003c\/li\u003e\n\u003cli\u003eJoan Courthope, ‘Diaries of Joan Courthope’\u003c\/li\u003e\n\u003cli\u003eMozaffar al-Din Shah Qajar, ‘Cinema in Iran’\u003c\/li\u003e\n\u003cli\u003eEdward Wagenknecht, ‘The Movies in the Age of Innocence’\u003c\/li\u003e\n\u003cli\u003eFilson Young, ‘Kinema’\u003c\/li\u003e\n\u003cli\u003eRobert Roberts, ‘The Classic Slum’\u003c\/li\u003e\n\u003cli\u003eFermin Rocker, ‘The East End Years’\u003c\/li\u003e\n\u003cli\u003eIngmar Bergman, ‘Magic Lantern’\u003c\/li\u003e\n\u003cli\u003eLeila Berg, ‘Flickerbook’\u003c\/li\u003e\n\u003cli\u003eJohn Sutherland, ‘Magic Moments’\u003c\/li\u003e\n\u003cli\u003eJohn Wyver, ‘Live from the Met’\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eAudiences\u003c\/strong\u003e\u003c\/p\u003e  \u003col\u003e\n\u003cli\u003eAndrei Tarkovsky, ‘Sculpting in Time’\u003c\/li\u003e\n\u003cli\u003eBen Thomas, ‘Ben’s Limehouse’\u003c\/li\u003e\n\u003cli\u003eDorothy Richardson, ‘The Front Rows’\u003c\/li\u003e\n\u003cli\u003eTaizo Fujimoto, ‘The Nightside of Japan’\u003c\/li\u003e\n\u003cli\u003eMaxwell Bodenheim, ‘East Side Moving Picture Theatre—Sunday’\u003c\/li\u003e\n\u003cli\u003eClaude Roy, ‘Into China’\u003c\/li\u003e\n\u003cli\u003eMin-Ch’ien T.Z. Tyau, ‘London Through Chinese Eyes’\u003c\/li\u003e\n\u003cli\u003eMary Helen Fee, ‘A Woman’s Impression of the Philippines’\u003c\/li\u003e\n\u003cli\u003eHorace Green, ‘The Log of a Noncombatant’\u003c\/li\u003e\n\u003cli\u003eGraham Greene, ‘The Lawless Roads’\u003c\/li\u003e\n\u003cli\u003eGeorge Jordan, ‘Bioscope \u0026amp; Cinematograph Shows’\u003c\/li\u003e\n\u003cli\u003eVerónica Feliu, ‘Movie-Going as Resistant Community’\u003c\/li\u003e\n\u003cli\u003eLouis Couperus, ‘Il Cinematografo’\u003c\/li\u003e\n\u003cli\u003eRuth Frances Woodsmall, ‘Moslem Women Enter a New World’\u003c\/li\u003e\n\u003cli\u003eHarold Hobson, ‘Indirect Journey’\u003c\/li\u003e\n\u003cli\u003eC.W. Kimmins, ‘The Cinema’\u003c\/li\u003e\n\u003cli\u003eAlexander L. Pach, ‘With the Silent Workers’\u003c\/li\u003e\n\u003cli\u003eItalo Calvino, ‘A Cinema-Goer’s Autobiography’\u003c\/li\u003e\n\u003cli\u003eJohn Foster Fraser, ‘Russia of To-day’\u003c\/li\u003e\n\u003cli\u003eRudolf Rocker, ‘Alexandra Palace Internment Camp in the First World War, 1914–1918’\u003c\/li\u003e\n\u003cli\u003eRichard Wollheim, ‘Germs’\u003c\/li\u003e\n\u003cli\u003eLauchlan MacLean Watt, ‘The Heart of a Soldier’\u003c\/li\u003e\n\u003cli\u003eArthur Ruhl, ‘The Other Americans’\u003c\/li\u003e\n\u003cli\u003eJack Common, ‘Kiddar’s Luck’\u003c\/li\u003e\n\u003cli\u003eJean-Paul Sartre, ‘Words’\u003c\/li\u003e\n\u003cli\u003eJosef Morrell, ‘Tell Me Grandpa’\u003c\/li\u003e\n\u003cli\u003eGeorges Perec, ‘Things’\u003c\/li\u003e\n\u003cli\u003eJames Malone, ‘Family Life and Work Experience Before 1918’\u003c\/li\u003e\n\u003cli\u003eArchie Bell, ‘The Spell of China’\u003c\/li\u003e\n\u003cli\u003eThomas Mann, ‘The Magic Mountain’\u003c\/li\u003e\n\u003cli\u003eLuke McKernan, ‘Going to the Cinema’\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003ePlaces\u003c\/strong\u003e\u003c\/p\u003e  \u003col\u003e\n\u003cli\u003eKhalil Totah, ‘Dynamite in the Middle East’\u003c\/li\u003e\n\u003cli\u003eEdmund Wilson, ‘Red, Black, Blond and Olive’\u003c\/li\u003e\n\u003cli\u003eC.M. Leicester, ‘A Holiday in Burma’\u003c\/li\u003e\n\u003cli\u003eEdwa Moser, ‘The Mexican Touch’\u003c\/li\u003e\n\u003cli\u003e‘Inbad’, ‘An Island Night’s Entertainment’\u003c\/li\u003e\n\u003cli\u003eGloria Swanson, ‘Swanson on Swanson’\u003c\/li\u003e\n\u003cli\u003eLaurie Lee, ‘As I Walked Out One Midsummer Morning’\u003c\/li\u003e\n\u003cli\u003eMadhur Jaffrey, ‘Climbing the Mango Trees’\u003c\/li\u003e\n\u003cli\u003eFrank Kessler, ‘Astor-Harmonie’\u003c\/li\u003e\n\u003cli\u003eHarry A. Franck, ‘Working North from Patagonia’\u003c\/li\u003e\n\u003cli\u003eLi Hung-fu, ‘Report from a Chinese Village’\u003c\/li\u003e\n\u003cli\u003eArthur Ransome, ‘The Crisis in Russia’\u003c\/li\u003e\n\u003cli\u003eMiss Johnson, ‘An Evening at the Cinema’\u003c\/li\u003e\n\u003cli\u003ePark Yeon-mi, ‘In Order to Live’\u003c\/li\u003e\n\u003cli\u003eOtto Mänchen-Helfen, ‘Journey to Tuva’\u003c\/li\u003e\n\u003cli\u003eOlga Briceño, ‘Cocks and Bulls in Caracas’\u003c\/li\u003e\n\u003cli\u003eJacob Tann, ‘Going to Watch a Movie in 3021’\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003ePlayers\u003c\/strong\u003e\u003c\/p\u003e  \u003col\u003e\n\u003cli\u003eJames Baldwin, ‘The Devil Finds Work’\u003c\/li\u003e\n\u003cli\u003eC.H. Rolph, ‘London Particulars’\u003c\/li\u003e\n\u003cli\u003eMolly Picon, ‘So Laugh a Little’\u003c\/li\u003e\n\u003cli\u003eArnold Bennett, ‘Journal 1929’\u003c\/li\u003e\n\u003cli\u003eLorna Sage, ‘Bad Blood’\u003c\/li\u003e\n\u003cli\u003eEdward W. Said, ‘Out of Place’\u003c\/li\u003e\n\u003cli\u003eNelson Mandela, ‘Long Walk to Freedom’\u003c\/li\u003e\n\u003cli\u003eJ.B. Priestley, ‘Delight’\u003c\/li\u003e\n\u003cli\u003eV.S. Naipaul, ‘The Middle Passage’\u003c\/li\u003e\n\u003cli\u003eJohn Osborne, ‘A Better Class of Person’\u003c\/li\u003e\n\u003cli\u003eThomas Burke, ‘Nights in Town’\u003c\/li\u003e\n\u003cli\u003eAnon., ‘Sociology of Film’\u003c\/li\u003e\n\u003cli\u003eEs’kia Mphahlele, ‘Down Second Avenue’\u003c\/li\u003e\n\u003cli\u003e‘Negro male student in High School. Age 17’, ‘Movies and Conduct’\u003c\/li\u003e\n\u003cli\u003ePaul van Ostaijen, ‘Asta Nielsen’\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eReality\u003c\/strong\u003e\u003c\/p\u003e  \u003col\u003e\n\u003cli\u003eStefan Zweig, ‘The World of Yesterday’\u003c\/li\u003e\n\u003cli\u003eSydney Race, ‘The Journals of Sydney Race’\u003c\/li\u003e\n\u003cli\u003eJ.G. Ballard, ‘Miracles of Life’\u003c\/li\u003e\n\u003cli\u003eVéra Tsaritsyn [Lady Colin Campbell], ‘Modern Gladiators’\u003c\/li\u003e\n\u003cli\u003eHenry Newbolt, ‘The War Films’\u003c\/li\u003e\n\u003cli\u003eVirginia Woolf, ‘The Cinema’\u003c\/li\u003e\n\u003cli\u003eTony Harrison, ‘Flicks and This Fleeting Life’\u003c\/li\u003e\n\u003cli\u003eRay Lankester, ‘Diversions of a Naturalist’\u003c\/li\u003e\n\u003cli\u003eGilbert Frankau, ‘Gilbert Frankau’s Self Portrait’\u003c\/li\u003e\n\u003cli\u003eGeorge Orwell, ‘Diaries’\u003c\/li\u003e\n\u003cli\u003eArnold Schwarzenegger, ‘Total Recall’\u003c\/li\u003e\n\u003cli\u003eParamahansa Yogananda, ‘Autobiography of a Yogi’\u003c\/li\u003e\n\u003cli\u003eMihail Sebastian, ‘Journal 1935–1944’\u003c\/li\u003e\n\u003cli\u003eAnon., ‘Newsreels’\u003c\/li\u003e\n\u003cli\u003eJoseph Roth, ‘Twenty Minutes from Before the War’\u003c\/li\u003e\n\u003cli\u003eTaran N. Khan, ‘Shadow City’\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eFears and Desires\u003c\/strong\u003e\u003c\/p\u003e  \u003col\u003e\n\u003cli\u003eFranz Kafka, ‘The Diaries of Franz Kafka’\u003c\/li\u003e\n\u003cli\u003ePeter O’Toole, ‘Loitering with Intent’\u003c\/li\u003e\n\u003cli\u003eVernon Scannell, ‘Autobiographical Note’\u003c\/li\u003e\n\u003cli\u003eMrs K.J. Bills, ‘Facts about Birth of a Nation Play at the Colonial’\u003c\/li\u003e\n\u003cli\u003eElizabeth Bowen, ‘Why I Go to the Cinema’\u003c\/li\u003e\n\u003cli\u003eJ.M. Coetzee, ‘Boyhood’\u003c\/li\u003e\n\u003cli\u003eNegley Farson, ‘The Way of a Transgressor’\u003c\/li\u003e\n\u003cli\u003eD.H. Lawrence, ‘Mornings in Mexico’\u003c\/li\u003e\n\u003cli\u003eRrekgetsi Chimeloane, ‘Whose Laetie Are You?’\u003c\/li\u003e\n\u003cli\u003eCanon H.D. Rawnsley, ‘The Child and the Cinematograph Show’\u003c\/li\u003e\n\u003cli\u003e‘Shorthand typist secretary, 21, female’, ‘British Cinemas and their Audiences’\u003c\/li\u003e\n\u003cli\u003eJohn Baxter, ‘A Pound of Paper’\u003c\/li\u003e\n\u003cli\u003ePaul Rose, ‘My Memories of Star Wars Are Only True from a Certain Point of View’\u003c\/li\u003e\n\u003cli\u003eMary J. Breen, ‘The Legion of Decency’\u003c\/li\u003e\n\u003cli\u003e‘College girl of nineteen’, ‘Movies and Conduct’\u003c\/li\u003e\n\u003cli\u003eRobert Ferguson, ‘Scandinavians’\u003c\/li\u003e\n\u003cli\u003ePhilip Norman, ‘Babycham Night’\u003c\/li\u003e\n\u003cli\u003eRoland Barthes, ‘Leaving the Movie Theater’\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eCoda\u003c\/strong\u003e\u003c\/p\u003e  \u003col\u003e\u003cli\u003eFrank Cottrell-Boyce, ‘A Love Letter to Cinema’\u003c\/li\u003e\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003e\u003cem\u003e \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003e\u003cem\u003eBibliography\u003cbr\u003e  Index\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"University of Exeter Press","offers":[{"title":"Default Title","offer_id":51360146063703,"sku":"9781804130124","price":76.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781804130124.jpg?v=1754126803","url":"https:\/\/bookcurl.com\/products\/picturegoers-a-critical-anthology-of-eyewitness-experiences-9781804130124","provider":"Book Curl","version":"1.0","type":"link"}