电影中的现代性:1915-1945 年布宜诺斯艾利斯和圣地亚哥的电影之旅》,作者 Camila Gatica Mizala(评论)

IF 0.8 3区 哲学 Q2 HISTORY & PHILOSOPHY OF SCIENCE
Cecilia Maas
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How did the government and civil society actors react to the content of the films? Camila Gatica Mizala skillfully reconstructs the social customs surrounding cinema-going and the interaction of early audiences with the burgeoning technology of cinema. She compellingly argues that for the inhabitants of Buenos Aires and Santiago, the act of going to the cinema was a tangible expression of modernity in their everyday lives.</p> <p>The book commences with an intriguing paradox: in the early twentieth century, cinema represented both a symbol of modernity and an escape from it. Films were a beacon of the latest technical advancements and embodied modern values like universalism and cosmopolitanism. 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Eisenstadt) and probes the question of <em>where</em> Latin America experienced modernity (Sarah Radcliffe), thereby crafting a nuanced definition that encompasses both technological evolution and emerging lifestyles in the context of a peripheral metropolis.</p> <p>Over the course of five meticulously researched chapters, Mizala reconstructs various facets of cinema-going in Buenos Aires and Santiago. She examines the architecture, design, and equipment of cinema theaters; the pricing strategies and commercial tactics that transformed film into a mass entertainment medium; the state’s efforts to regulate film through censorship and its impact on the moral compass of viewers; the social practices and the explicit and implicit behavioral norms within movie theaters; and the role of both written and spoken language in shaping the cinema-going experience. 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Her dissertation was published as <em>The Joy of the Modern Home: New Media and the Entertainment Market in Argentina, Chile, and Uruguay (1890s–1920s)</em> (WBG, 2022).</p> <p></p> Copyright © 2024 Society for the History of Technology ... </p>","PeriodicalId":49446,"journal":{"name":"Technology and Culture","volume":null,"pages":null},"PeriodicalIF":0.8000,"publicationDate":"2024-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Modernity at the Movies: Cinema-Going in Buenos Aires and Santiago, 1915–1945 by Camila Gatica Mizala (review)\",\"authors\":\"Cecilia Maas\",\"doi\":\"10.1353/tech.2024.a933112\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Modernity at the Movies: Cinema-Going in Buenos Aires and Santiago, 1915–1945</em> by Camila Gatica Mizala <!-- /html_title --></li> <li> Cecilia Maas (bio) </li> </ul> <em>Modernity at the Movies: Cinema-Going in Buenos Aires and Santiago, 1915–1945</em><br/> By Camila Gatica Mizala. 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引用次数: 0

摘要

评论者 电影中的现代性:布宜诺斯艾利斯和圣地亚哥的电影放映,1915-1945 年 作者:Camila Gatica Mizala Cecilia Maas (bio) 电影中的现代性:布宜诺斯艾利斯和圣地亚哥的电影放映,1915-1945 年 作者:Camila Gatica Mizala。匹兹堡:匹兹堡大学出版社,2023 年。第 266 页。电影中的现代性》揭示了电影史中一个在很大程度上未被探索的方面:展览和观众接收的复杂性。本书探讨了一些关键问题:早期的电影观众如何看待这一技术的出现?他们在早期是如何体验电影院的?公司是如何围绕电影放映开展业务的?政府和民间社会对电影内容有何反应?卡米拉-加蒂卡-米扎拉(Camila Gatica Mizala)巧妙地重构了围绕电影观影的社会习俗,以及早期观众与新兴电影技术的互动。她令人信服地指出,对于布宜诺斯艾利斯和圣地亚哥的居民来说,看电影是他们日常生活中现代性的具体体现。该书以一个耐人寻味的悖论开篇:在二十世纪初,电影既是现代性的象征,也是对现代性的逃避。电影是最新技术进步的灯塔,体现了普世主义和世界主义等现代价值观。然而,正如开篇引文所尖锐指出的,电影也为 "被称为现代生活的可怕癫痫病的物质和道德焦虑 "提供了喘息的机会。这种二分法将电影定位为探索拉丁美洲城市环境中现代性体验的理想镜头。Mizala 参考了大量学术文献来定义现代性。她将马歇尔-伯尔曼(Marshall Berman)、莱因哈特-科塞勒克(Reinhardt Koselleck)和胡安-塞巴斯蒂安-奥斯皮纳-莱昂(Juan Sebastián Ospina León)作品中强调现代性的主观和体验层面的观点,与尼古拉-米勒(Nicola Miller)将现代性视为一种难以捉摸的愿望的观点交织在一起。该书精辟地运用了 "多重现代性"(S. N. Eisenstadt)的概念,并探讨了拉丁美洲在哪里经历现代性(Sarah Radcliffe)的问题,从而提出了一个细致入微的定义,既包括技术演变,也包括外围大都市背景下的新兴生活方式。在精心研究的五个章节中,米扎拉重构了布宜诺斯艾利斯和圣地亚哥的电影观赏的方方面面。她考察了电影院的建筑、设计和设备;将电影转变为大众娱乐媒介的定价策略和商业手段;国家通过审查来管理电影的努力及其对观众道德观的影响;电影院内的社会实践和显性与隐性的行为规范;以及书面语言和口头语言在塑造观影体验中的作用。这些要素共同构成了对电影在拉丁美洲城市生活中的作用的全面理解。[本书聚焦于社会对技术的看法。通过与探讨社会如何吸收技术创新的文学作品(如伯恩哈德-里格的作品)相结合,米扎拉展示了电影在整个 20 世纪上半叶从技术新秀到受人尊敬的艺术形式的演变过程。电影中的现代性》是对全球技术史的贡献,因为它将注意力从技术创新的背景转移到了挪用过程。该书以独特的视角讲述了电影的故事:主角不是卢米埃尔兄弟首次放映电影时的巴黎人,而是遥远但相互联系的拉丁美洲南部充满活力的首府城市的居民。塞西莉亚-马斯 塞西莉亚-马斯拥有柏林自由大学博士学位。她的论文发表于《现代家庭的乐趣:阿根廷、智利和乌拉圭的新媒体和娱乐市场(1890-1920 年代)》(WBG, 2022 年)。 版权 © 2024 技术史学会 ...
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Modernity at the Movies: Cinema-Going in Buenos Aires and Santiago, 1915–1945 by Camila Gatica Mizala (review)

Reviewed by:

  • Modernity at the Movies: Cinema-Going in Buenos Aires and Santiago, 1915–1945 by Camila Gatica Mizala
  • Cecilia Maas (bio)
Modernity at the Movies: Cinema-Going in Buenos Aires and Santiago, 1915–1945
By Camila Gatica Mizala. Pittsburgh: University of Pittsburgh Press, 2023. Pp. 266.

Modernity at the Movies sheds light on a largely unexplored facet of film history: the intricacies of exhibition and audience reception. The book addresses key questions: How did early film audiences perceive the advent of this technology? How did they experience going to the cinema in the early days? How did companies build their businesses around the exhibition of movies? How did the government and civil society actors react to the content of the films? Camila Gatica Mizala skillfully reconstructs the social customs surrounding cinema-going and the interaction of early audiences with the burgeoning technology of cinema. She compellingly argues that for the inhabitants of Buenos Aires and Santiago, the act of going to the cinema was a tangible expression of modernity in their everyday lives.

The book commences with an intriguing paradox: in the early twentieth century, cinema represented both a symbol of modernity and an escape from it. Films were a beacon of the latest technical advancements and embodied modern values like universalism and cosmopolitanism. Yet, as the opening quotation poignantly observes, cinema also offered respite from the “material and moral agitation of this terrible epilepsy that is called modern life.” This dichotomy positions cinema as an ideal lens through which to explore the experience of modernity in Latin American urban settings.

Mizala engages with a wide range of scholarly literature to define modernity. She intersects perspectives that highlight the subjective and experiential dimensions of modernity, as seen in the works of Marshall Berman, Reinhardt Koselleck, and Juan Sebastián Ospina León, with those viewing it as an elusive aspiration, as articulated by Nicola Miller. The book insightfully employs the notion of “multiple modernities” (S. N. Eisenstadt) and probes the question of where Latin America experienced modernity (Sarah Radcliffe), thereby crafting a nuanced definition that encompasses both technological evolution and emerging lifestyles in the context of a peripheral metropolis.

Over the course of five meticulously researched chapters, Mizala reconstructs various facets of cinema-going in Buenos Aires and Santiago. She examines the architecture, design, and equipment of cinema theaters; the pricing strategies and commercial tactics that transformed film into a mass entertainment medium; the state’s efforts to regulate film through censorship and its impact on the moral compass of viewers; the social practices and the explicit and implicit behavioral norms within movie theaters; and the role of both written and spoken language in shaping the cinema-going experience. These elements collectively provide a comprehensive understanding of cinema’s role in urban Latin American life. [End Page 1012]

The book casts a spotlight on the societal perception of technology. By aligning with literature that explores how societies assimilate technological innovations, such as the works of Bernhard Rieger, Mizala showcases cinema’s evolution from a technological novelty to an esteemed art form throughout the first half of the twentieth century. Modernity at the Movies constitutes a contribution to the global history of technology as it shifts attention from the context of technical innovation to the appropriation process. It narrates the story of motion pictures with a unique twist: the protagonists are not the Parisians at the Lumière brothers’ first screenings but the inhabitants of the dynamic capital cities of a distant yet interconnected southern Latin America.

Cecilia Maas

Cecilia Maas holds a Ph.D. from the Freie Universität Berlin. Her dissertation was published as The Joy of the Modern Home: New Media and the Entertainment Market in Argentina, Chile, and Uruguay (1890s–1920s) (WBG, 2022).

Copyright © 2024 Society for the History of Technology ...

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来源期刊
Technology and Culture
Technology and Culture 社会科学-科学史与科学哲学
CiteScore
0.60
自引率
14.30%
发文量
225
审稿时长
>12 weeks
期刊介绍: Technology and Culture, the preeminent journal of the history of technology, draws on scholarship in diverse disciplines to publish insightful pieces intended for general readers as well as specialists. Subscribers include scientists, engineers, anthropologists, sociologists, economists, museum curators, archivists, scholars, librarians, educators, historians, and many others. In addition to scholarly essays, each issue features 30-40 book reviews and reviews of new museum exhibitions. To illuminate important debates and draw attention to specific topics, the journal occasionally publishes thematic issues. Technology and Culture is the official journal of the Society for the History of Technology (SHOT).
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