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Chapter 1. Cinema, audiences and modernity: an introduction Daniel Biltereyst, Richard Maltby and Philippe Meers Part I - Cinema, Tradition and Community Chapter 2. Cinema-going between ideology and commerce: a longitudinal research on rural versus urban cinema in Flanders (1920s-1970s) Philippe Meers, Kathleen Lotze, Lies Van de Vijver and Daniel Biltereyst Chapter 3. Spaces of Early Film Exhibition in Sweden, 1897-1911 Asa Jernudd Chapter 4. Movie-going under Military Occupation, Dusseldorf, 1919 - 1925 Frank Kessler and Sabine Lenk Chapter 5. 'Christ is coming to the Elite cinema': Film exhibition in the Catholic South of the Netherlands, 1910s and 1920s Thunnis Van Oort Chapter 6. The Cinematic Shapes of the Socialist Modernity Programme: Ideological and Economic Parameters of Cinema Distribution in the Czech Lands, 1948 - 1970 Pavel Skopal Chapter 7. '...The Management Committee intend to act as Ushers': Cinema Operation and the South Wales Miners' Institutes in the 1950s and 1960s Stefan Moitra Part II - Audiences, Modernity and Cultural Exchange Chapter 8. Urban legend: Early cinema, modernization, and urbanization in Germany, 1895 - 1914 Annemone Ligensa Chapter 9. 'Diagnosis: Flimmeritis': Female Cinema-going in Imperial Germany, 1911 - 1918 Andrea Haller Chapter 10. AFGRUNDEN in Germany: Monopolfilm, Cinema-Going and the Emergence of the Film Star Asta Nielsen, 1910 - 1911 Martin Loiperdinger Chapter 11. 'Senza Patria' or without a homeland: Italian war films and immigrants in London, 1914 - 1918 Pierluigi Ercole Chapter 12. Imagining modern Hungary through film: debates on national identity, modernity and cinema in early twentieth century Hungary Ana Manchin Chapter 13. Hollywood in disguise: Practices of exhibition and reception of foreign films in Czechoslovakia in the 1930s Petr Szczepanik

In his vibrant cultural biography on Joseph I. Breen, the man who from 1934 to 1954 was in charge of the Production Code Administration (PCA) in Hollywood, Thomas Doherty reminds us how difficult it is to judge the legacy of the American film industry’s internal censorship system. While “Hollywood’s censor” Breen saw his work as a positive mission, most film scholars and people working in the industry are much more critical. “Hollywood under the Code,” Doherty reminds us, “was variously, cumulatively, and intractably racist, patriarchal, misogynistic, homophobic, capitalistic, and colonialist,” along with promoting “bourgeois, heteronormative, American-centric values upheld and celebrated from genre to genre, studio to studio.”2 The PCA, which operated under Hollywood’s powerful film trade organization—the Motion Picture Producers and Distributors of America, Inc. (MPPDA)—served until the end of the 1960s as the central regulatory institution in the creation, production, and distribution of motion pictures in the United States. Using the Production Code (also known as the Hays or Breen Code)3 as its bible, the administration systematically intervened in the writing of script drafts, the shooting and editing of major Hollywood studios’ motion pictures, and finally decided about the MPPDA seal of approval for distribution and exhibition

Silencing Cinema: An Introduction D.Biltereyst & R.Vande Winkel PART I: CENSORSHIP, REGULATION, AND HEGEMONY All the Power of the Law: Governmental Film Censorship in the United States L.Wittern-Keller American Morality Is Not to Be Trifled With : Content Regulation in Hollywood after 1968 J.Lewis When Cinema Faces Social Values: One Hundred Years of Film Censorship in Canada P.Veronneau Inquisition Shadows: Politics, Religion, Diplomacy, and Ideology in Mexican Film Censorship F.M.Peredo-Castro PART II: CONTROL, CONTINUITY, AND CHANGE Film Censorship in Germany: Continuity and Changes through Five Political Systems M.Loiperdinger Seeing Red: Political Control of Cinema in the Soviet Union R.Taylor Prohibition, Politics, and Nation Building: A History of Film Censorship in China Z.Xiao Film Censorship during the Golden Era of Turkish Cinema D.K.Mutlu PART III: COLONIALISM, LEGACY, AND POLICIES The Censor and the State in Great Britain J.Petley British Colonial Censorship Regimes: Hong Kong, Straits Settlements, and Shanghai International Settlement, 1916-1941 D.Newman 'We do not certify backwards': Film Censorship in Post-Colonial India N.Bose Irish Film Censorship: Refusing the Fractured Family of Foreign Films K.Rockett PART IV: CENSORSHIP MULTIPLICITY, MORAL REGULATION, AND EXPERIENCES Nollywood, Kannywood, and a Decade of Hausa Film Censorship in Nigeria C.McCain The Legion of Decency and the Movies G.D.Black Blessed Cinema: State and Catholic Censorship in Post-war Italy D.T.Gennari Film Censorship in a Liberal Free Market Democracy: Strategies of Film Control and Audience's Experiences of Censorship in Belgium D.Biltereyst

For what March Hunnings and other authors writing about film censorship systems around the world inform us,2 the film policy of the small kingdom of Belgium was quite distinctive. Not only that there was no regulation in terms of import quotas, contingent laws, or other measures to protect local film production, but the country was also quite unique because it did not have a compulsory film censorship system. Film producers, distributors, or exhibitors were not obliged to show their movies to a censorship board but could distribute and screen them freely. In theory, this liberal film policy served as a gateway for Belgian audiences to consume unreservedly such controversial films that were considered to be politically dangerous or morally risque.

In our contemporary mediatized societies, philanthropy seems to be part of celebrities’ ontology, while celebrities have become indispensable for the charity industry. This has provoked both negative and positive appraisals, although the specific nature and consequences of celebrities’ involvement remain unclear. This article contributes to these debates by providing a systematic analysis of the roles celebrities play in telethons, which we redefine as charity media events, allowing us to study the shows in their full contextual complexity as ideological constructs. Applying qualitative content analysis, we have analysed two charity media events following the 2010 Haitian earthquake. In general, four distinct roles have been discerned: celebrities add an aura of exclusiveness and glamour, they render distant suffering relevant to domestic audiences, they function as principal motivators, and also contribute to the commodification of charity. Celebrities’ involvement thus reinforces charity media events’ dominant discourse of charitainment, in which a disaster is portrayed as a short term problem that can be remedied by supporting relief aid. Although this analysis does not disregard the usefulness and impact of fundraising campaigns and the contribution celebrities can make, it criticizes the oversimplified representation of complex issues and the decontextualized and depoliticized interpretations of distant suffering.

Notes on Contributors. Acknowledgements. Part 1 Mapping Cinema Experiences. 1 New Cinema Histories (Richard Maltby). 2 Reimagining the History of the Experience of Cinema in a Post-Moviegoing Age (Robert C. Allen). 3 Putting Cinema History on the Map: Using GIS to Explore the Spatiality of Cinema (Jeffrey Klenotic). 4 What to do with Cinema Memory? (Annette Kuhn). Part 2 Distribution, Programming and Audiences. 5 Social Class, Experiences of Distinction and Cinema in Postwar Ghent (Daniel Biltereyst, Philippe Meers and Lies Van de Vijver). 6 Distribution and Exhibition in The Netherlands, 1934-1936 (Clara Pafort-Overduin). 7 Patterns in First-Run and Suburban Filmgoing in Sydney in the mid-1930s (John Sedgwick). 8 From Hollywood to the Garden Suburb (and Back to Hollywood): Exhibition and Distribution in Australia (Mike Walsh). 9 Hollywood and its Global Audiences: A Comparative Study of the Biggest Box Office Hits in the United States and Outside the United States Since the 1970s (Peter Kramer). 10 Blindsiding: Theatre Owners, Political Action and Industrial Change in Hollywood, 1975-1985 (Deron Overpeck). Part 3 Venues and their Publics. 11 'No Hits, No Runs, Just Terrors': Exhibition, Cultural Distinctions and Cult Audiences at the Rialto Cinema in the 1930s and 1940s (Tim Snelson and Mark Jancovich). 12 Going Underground with Manny Farber and Jonas Mekas: New York's Subterranean Film Culture in the 1950s and 1960s (Peter Stanfield). 13 Searching for the Apollo: Black Moviegoing and its Contexts in the Small-Town US South (Arthur Knight). 14 Film Distribution in the Diaspora: Temporality, Community and National Cinema (Deb Verhoeven). Part 4 Cinema, Modernity and the Local. 15 The Social Biograph: Newspapers as Archives of the Regional Mass Market for Movies (Paul S. Moore). 16 Modernity for Small Town Tastes: Movies at the 1907 Cooperstown, New York, Centennial (Kathryn Fuller-Seeley). 17 Silent Film Genre, Exhibition and Audiences in South India (Stephen Putnam Hughes). 18 The Last Bemboka Picture Show: 16 mm Cinema as Rural Community Fundraiser in the 1950s (Kate Bowles). Index.

Recent qualitative audience research on the reception of US fiction abroad has been presented as a valuable new perspective in studying the world-wide appeal and impact of American programming. However the concentration on the decoding of US fiction alone (usually Dallas) has stimulated an essential and decontextualized position on these issues. The results from a comparative reception analysis (comparing the reception of an American fiction programme and a similar domestic one by respondents in a small European country) show that several current concepts and arguments on the functioning, the appeal, the characteristics and the (possible) impact of US fiction should be revised. More generally, cross-textual comparative reception analysis can be useful in exploring nuances in audience activity and in the polysemic character of different texts. Methodologically, a multi-method approach is used to show that diverse techniques can be incorporated into a more elaborated scheme for analysis of the reception process, which consists of several substantial `moments'.

Literature review on international communciation and media conglomerates

Abstract Multicultureel drama? Populair Nederlands televisiedrama, jeugd en etniciteit Joost de Bruin (2005) Amsterdam: Otto Cramwinckel ISBN 90 757 57 380; 216 BLZ.; € 25,00 Framing Asiel – Indringers en slachtoffers in de pers Baldwin Van Gorp (2006) Leuven: Acco ISBN 9789033459269; 280 BLZ.; € 36,00

bijdrage over de relatie tussen de Amerikaanse filmindustrie en de Republikeinse Partij.

Unlike other disciplines within the humanities and the social sciences, it is safe to argue that comparative research is only weakly developed within film and cinema studies. Research on film style, ideology, authorship, stardom, genres, and other perspectives within a humanities-oriented film studies often implicitly emphasizes the complexity, unicity, and idiosyncrasy of films and of their particular genres, authors, stars, and meanings. Within this approach, which Robert C. Allen and Douglas Gomery (1985) provocatively labeled the “masterpiece tradition” within film historiography, comparative research modes are obviously not high on the agenda. On the contrary, comparison is regarded as potentially impeding the full appreciation and understanding of films and of the realm of cinema.

This article proposes a framework that revisits the concept of participation through three non-mutually exclusive categories: pick, play and produce. Each category involves a different way of participating: through composing media consumption, to extending story worlds through existing materials and expanding media by creating content. In doing so, we question the emphasis on case studies that explore specific contemporary audience practices through the (online) traces left behind by audiences. These case studies are often set as exemplary for broader audience practices. Instead, we propose an approach that builds on the practices identified in these case studies, but starts from general audiences by surveying a representative sample of 1015 high school students aged 16 to 18 in Flanders (the northern Dutch-speaking region of Belgium). Each student completed a 94-question questionnaire in the first half of 2015, designed to measure contemporary film consumption. Our analysis confirms the need to further explore participation; when researching audience practices we find different patterns in participatory practices. A vast majority of audiences picks, about half of all audiences play and only a fifth participates through producing. Furthermore, audiences take part in different practices within and across categories. In short, participation is a multi-facetted concept.Aquest article proposa un marc que revisa el concepte de participació a través de tres categories no excloents entre si: escollir, reproduir i produir. Cada categoria implica una manera diferent de participar: des de la composició del consum de mitjans, fins als universos de narratives esteses mitjançant materials existents i l’expansió de mitjans en crear continguts. Amb això, es qüestionen els casos d’estudi que exploren pràctiques contemporànies específiques de les audiències a través dels rastres que han deixat els usuaris en línia. Aquests casos d’estudi sovint són exemples per a pràctiques d’audiències més àmplies. Per contra, en aquest article es proposa una aproximació que construeix en les pràctiques identificades d’aquests casos d’estudi, però comença per audiències generals en portar a terme una enquesta d’una mostra representativa de 1.015 estudiants de preparatòria entre les edats de 16 a 18 anys a la regió flamenca de Bèlgica (situada a la part nord del país i que parla oficialment l’holandès). Cada participant va respondre un qüestionari de 94 preguntes durant el primer semestre del 2015, dissenyat per mesurar el consum de cinema contemporani. La nostra anàlisi confirma la necessitat de continuar explorant la participació, ja que en estudiar les pràctiques d’audiències hem trobat diversos patrons en les pràctiques de participació. La majoria de les audiències tria, al voltant de la meitat de totes les audiències reprodueix i només una cinquena part hi participa a través de la producció. A més, les audiències prenen part de diverses pràctiques a dins i transversalment entre categories. En resum, la participació és un concepte multifacètic.

Deze studie situeert zich binnen recente maatschappelijke tendensen zoals ‘healthism’ (Skrabanek 1994), medicalisering (Christiaens & van Teijlingen, 2009) en vergrijzing waardoor senioren een steeds belangrijker wordende doelgroep van gezondheidsinformatie zijn (Bracke et al., 2008). Een essentieel element in dit actueel debat is de enorme toename aan medische informatie via de massamedia, maar ook via andere spelers (of stakeholders) zoals overheden, educatieve en wetenschappelijke organisaties, en commerciële actoren. De vraag of dit proces senioren als patiënten/consumenten meer kennis en macht geeft (‘empowerment’) dan wel hen blootstelt aan subtiele manipulatie door misleidende of conflicterende informatie van stakeholders, blijft voorlopig voorwerp van intens debat (Fox et al., 2005; Santana et al., 2011). Dat komt mede doordat onderzoekers tot dusver eenzijdig gefocust hebben op de producenten van gezondheidsnieuws (bv. Applbaum, 2009), de nieuwsinhoud (bv. Goodfellow et al., 2013), of op de nieuwsconsumenten (bv. Lewis, 2006). Men onderzocht telkens een deel in plaats van het geheel en daarom hebben we tot op vandaag geen volledig inzicht in het proces van nieuwsconstructie en -deconstructie. Wij sluiten ons daarentegen aan bij de stelling van Rimal en Lapinski (2009) dat gezondheidscommunicatie benaderd dient te worden vanuit een transdisciplinair perspectief om inzicht te krijgen in de complexe interactiepatronen die vorm geven aan het discours over gezondheid. De centrale doelstelling van deze paper is daarom de ontwikkeling van een innovatief, transdisciplinair onderzoeksdesign dat kan toegepast worden om te onderzoeken welke rol de verschillende stakeholders opnemen in de constructie van discours rond senioren-gerelateerde gezondheidskwesties via de nieuwsmedia, en hoe het publiek van Vlaamse senioren gezondheidsinformatie verzamelt en deconstrueert. In navolging van Chiapello en Fairclough (2002, p.206) definiëren we transdisciplinair onderzoek als een “particular form of interdisciplinary research which (…) initiates a dialogue between two disciplines and frameworks, which may lead to a development of both through a process of each internally appropriating the logic of the other as a resource for its own development.” Uitgaande van de hierboven beschreven tendensen opteren we voor een transdisciplinaire samenwerking tussen communicatiewetenschappen, sociolinguïstiek, geneeskunde en sociologie. Methodologisch stoelt het onderzoeksdesign op een triangulatie van verschillende kwalitatieve en kwantitatieve onderzoekstechnieken. We onderscheiden vier convergerende onderzoekslijnen die sterk met elkaar verweven zijn: 1. De eerste onderzoekslijn brengt het discours van en de politiek-economische en institutionele relaties tussen de actoren in het veld van senioren-gerelateerde gezondheidskwesties in kaart. We combineren politiek-economische analyse, een stakeholder mappingtechniek en een reeks van semigestructureerde elite-interviews met vertegenwoordigers van de stakeholders. 2. Een tweede onderzoekslijn focust op de (productie)levenscyclus van nieuwsverhalen over senioren-gerelateerde gezondheidskwesties. Via een case-georiënteerde, ‘multi-sited’ linguïstisch etnografische benadering, onder meer in de communicatieafdeling van een farmaceutisch bedrijf en in een krantenredactie, wordt het complexe raderwerk van discursieve praktijken en professionele routines ontleed dat vorm geeft aan de berichtgeving over gezondheid. 3. Terwijl de tweede onderzoekslijn de productie van gezondheidsnieuws analyseert, focust het derde subproject op de uiteindelijke output van het nieuwsproductieproces: de nieuwsinhoud. Aan de hand van kwantitatieve inhoudsanalyse, frame en discoursanalyse onderzoeken we welke stakeholders, bronnen en discourses aan bod komen in senioren-gerelateerd gezondheidsnieuws in verschillende Vlaamse nieuwsmedia. 4. De laatste onderzoekslijn positioneert zich aan het ontvangersuiteinde van de nieuwsketen: de consumptie van gezondheidsinformatie. In twee series van focusgroepinterviews zal nagegaan worden hoe Vlaamse senioren informatie rond gezondheid ontvangen, interpreteren en evalueren in termen van betrouwbaarheid en waardevolheid. Zo kunnen we inzicht verwerven in de geletterdheid van senioren op het vlak van gezondheid (‘health literacy’) en de bredere sociale vraag naar transparante informatie over gezondheid. Zoals eerder aangegeven streven we naar een kruisbestuiving tussen de verschillende onderzoekslijnen. Daartoe voorzien we verschillende overlegmomenten en integratiefases. Het doel van deze paper is om uitgebreid te reflecteren over het onderzoeksdesign van dit ambitieus onderzoeksproject, meer bepaald over de transdisciplinaire benadering, de theoretische invalshoeken, en de gekozen onderzoeksmethoden.

Introduction: Most studies on information behaviour focus on individual behaviour, predominantly seeking, scanning and avoiding. This paper explores sharing, the understudied informal exchange of health information in everyday social settings. Method: Forty qualitative in-depth interviews were held with adults in the age range of fifty to eighty in Flanders, the Dutch-speaking northern part of Belgium. Analysis: Thematic data analysis was carried out to identify and single out sharing behaviour. Using a grounded analysis approach, data findings were compared with and placed within the literature and conceptual frameworks. Results: The study finds that health information sharing is a common and frequently occurring type of health information behaviour, embedded in everyday social and supportive interactions. The sharing of knowledge, experiences and advice takes place intentionally and in a premeditated fashion, as well as spontaneously and unintentionally when opportunities arise. Respondents observe and learn from others about health conditions, although the doctor remains the foremost expert. Conclusions: Driven by social motivations, sharing plays an important role in the acquisition, exchange and circulation of health information. This suggests that more attention should be paid to the social, collective and collaborative aspects of information behaviour, specifically everyday information sharing.

Edited volume with original contributions on the Catholics' attempts to influence cinema worldwide

Television fiction is traditionally seen as the most problematic programme category with respect to dependency on foreign television material. This is especially true for television stations in Third World and small countries in general. Imported, mostly US, fiction plays a prominent role in the total programming schedule and also appears to enjoy popular success. This combination of material dependency and public approval is now a widely discussed topic in cultural debates on the protection of the indigenous identity in many countries and regions. However, very few programme flow studies have been conducted connecting systematically data on the supply and the consumption of (fiction) programmes. This article provides an international comparative study of the import flows and the (quantitative) consumption of fiction in thirteen small European countries and regions (twenty-six stations). It argues that there are noticeable differences in the supply and preferences of the importing countries. Linguistic and cultural proximity is an extremely strong generator of these differences and thus functions as a main protagonist in directing the regional television flows within Western Europe.

The Hobbit franchise, as many global media products, reaches audiences worldwide. Audience members apparently consume a uniform media product. But do they? The World Hobbit Project offers a new and exciting opportunity to explore differences and similarities, for it provides us with audiences' understandings of the trilogy across languages and nationalities. In this paper we conduct a statistical analysis on differences and similarities inunderstandings of The Hobbittrilogy between Belgium, the Netherlands, and France both in what audiences do and do not feel The Hobbit films to be. Analyzing this particular region in Europe provides an extraordinary opportunity, for The World Hobbit project allows us to compare on the language level (the Dutch and Frenchspeaking Belgian regions with respectively the Netherlands and France), as well as on the level of national identities (comparing the three countries amongst each other). In doing so, we are able to further understand what informs geographical and linguistic differences in the consumption of a uniform media product. As such, this paper touches upon cultural hegemony, crossborder flows of fiction, language and cultural proximity.

Session "Navigating in the digital media culture: The audience perspective", Copenhagen