Ephemeral Cinema Spaces
Ephemeral Cinema Spaces
Stories of Reinvention, Resistance and Community
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Table of Contents
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List of Figures
The structure of the book
1 Unstable constellations: Recognizing cinema out of place
1.1 Configurations
1.2 Protocols
1.3 Conclusion
2 Relocations: Mapping the non-theatrical field in Scotland
2.1 The fieldwork sample
2.2 Non-theatrical
2.3 Ephemeral
2.4 Pop-up
2.5 Improvised and insterstitial
2.6 Early ephemeral cinemas
2.7 Conclusion
3 A desire for the civic: Community cinemas and volunteer work
3.1 Social value
3.2 Public hall cinema
3.3 Community cinema
3.4 Case studies
3.5 Conclusion
4 Film clubs and subcultural cinephile spaces
4.1 Film cultures
4.2 Alternative exhibition in Glasgow
4.3 Glasgow film clubs
4.4 Producing spaces of cinephilia
4.5 Negotiating abundance and obsolescence
4.6 Conclusion
5 On the ground: Participatory screenings in everyday spaces
5.1 Archive film and local audiences
5.2 Spaces for action
5.3 Pop-up cinema as a site for public discussion
5.4 Conclusion
6 Crafting the extraordinary: site-specificity and liveness
6.1 An unrepeatable experience
6.2 Enhanced cinema: the pleasures of space
6.3 Site-specific programming
6.4 Expanded and expansionist cinema
6.5 Liveness
6.6 Conclusion
7 Against enclosure: DIY exhibition as prefigurative action
7.1 Tactical urbanism
7.2 Publicness and commoning
7.3 DIY and disalienated work
7.4 Home Cinema
7.5 Networks
7.6 Conclusion
8 Coda
9 Acknowledgements

Maria Vélez-Serna

Ephemeral Cinema Spaces

Stories of Reinvention, Resistance and Community

With changing technologies and social habits, the communal cinema experience would seem to be a legacy from another era. However, the 2010s saw a surge in interest for screening films in other temporary public settings. This desire to turn ruins, pubs, galleries, parks, village halls, and even boats into ephemeral cinema spaces is a search for ways of being and working together, using cinema as a framework for social encounter. This book documents contemporary practices of pop-up and sitespecific cinema exhibition in the UK (with a focus on Scotland), tracing their links with historical forms of non-theatrical exhibition such as public hall cinema and fairground bioscopes. Through archival research, observation and interviews with film exhibitors and programmers, the book explores how exhibitors create ephemeral social spaces, how they negotiate the various uses and configurations of films and venues, and how they reinvent cinemagoing from its margins.
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Maria Vélez-Serna

Maria Antonia Vélez-Serna teaches Film and Media at the University of Stirling. She studied at the Universidad Nacional de Colombia and the University of Glasgow. She co-edited Early Cinema in Scotland (Edinburgh University Press, 2018) and has also published on Colombian cinema history.