Abstract
Abstract This data paper and the data collection from which it emerges aim to present a fully harmonized data set originating in several research projects on post-war cinema programming. The paper will reflect on the collection and structure of this aggregated data set, that consists of titles of feature films screened for public viewing in cinemas in the cities Bari (Italy), Antwerp and Ghent (Belgium), Gothenburg (Sweden), Leicester (United Kingdom) and Rotterdam (Netherlands) for the year 1952. As comparisons of movie-going patterns between European countries are still rare, this paper offers a model for constructing a data set which can be replicated, scaled up and used to compare, contextualize, and eventually theorize practices of cinema-going across countries at a global level.
Highlights
The rise of the cinema as a cultural industry since the dawn of the twentieth century and its endurance into the twenty-first has had an abiding impact on the social, cultural and economic infrastructures of modernizing societies
Questions that address the wider contexts of the production, distribution and – especially – consumption of film form the groundwork for a growing field called New Cinema History (Biltereyst, Maltby, & Meers, 2019; Maltby, Biltereyst, & Meers, 2011).The increasing interest in the specific circumstances in which films were circulated and watched historically has resulted in a proliferation of often local or regional case studies
The development of New Cinema History has been stimulated by the advancement of new digital tools, sources and methods that gained momentum in the humanities after 2000 (Noordegraaf, Lotze, & Boter, 2018)
Summary
The rise of the cinema as a cultural industry since the dawn of the twentieth century and its endurance into the twenty-first has had an abiding impact on the social, cultural and economic infrastructures of modernizing societies. Our data set offers a model to collect information on historical film cultures which can be replicated, scaled up and used to compare, contextualize, and eventually theorize practices of cinema-going across different countries at a global level. Both individually and with each other, the various tables, as described below, can provide insights into the size, structure and functioning of the cinema markets in the different cities and serve as a starting point for research into further economic, social or cultural explanations. Shared research data journal for the humanities and sociaDlowscnloieadnedcefrosm5B(ri2ll.0co2m01)1/10029/2-01221501:32:01PM and diverging film preferences can point to different cultural values and can form the basis for research into understanding cultural similarities and differences (e.g. Sedgwick, Miskell, & Nicoli, 2019)
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