Abstract
Some fine film-history scholarship in recent years has addressed the use of film in places other than its exhibition in film theatres, highlighting how the technology was key to furthering institutional goals in industrial, capital, colonial, pedagogical and military contexts.1 Such scholarship has made it almost imperative for film histories now to reflect on spheres beyond popular filmmaking. Haidee Wasson’s brilliantly researched Everyday Movies: Portable Projectors and the Transformation of American Culture is a worthy contribution to this tradition. Everyday Movies focuses on portable film projectors and their growth in the USA from the 1910s to the 1950s, when they reached ‘critical mass’ and their use became ubiquitous in American life. By this point, portable projectors far outnumbered their stationary counterparts in cinema halls (p. 18), thus the film use they facilitated is an essential aspect of mid-century visual culture and media circulation in the USA. Wasson observes how...
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