Suitcase Cinema

Wasson, Haidee

doi:10.1353/cj.2012.0006

Cited by 4 publications

(2 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“… Other sources on itinerant and/or portable cinema include Wasson (, ), Acland (), Lester (), Mahadevan (), and MacDonald (). …”

mentioning

confidence: 99%

See 1 more Smart Citation

Projecting Films to Spirits: On Shrines as Conjunctural Space and the Ritual Economy of Outdoor Cinema in Bangkok

MacDonald¹

2017

Visual Anthropology Review

View full text Add to dashboard Cite

Outlining different ritual actions through which cinema is sponsored, it then focuses on a particular practice: pledging film screenings to spirits and deities at shrines. Looking at a specific site, a Daoist shrine in suburban Bangkok, it foregrounds the implications of a disjuncture between the personal nature of the spiritual transaction and the public character of its fulfillment. It considers these implications through an analysis of the spatial conjuncture formed when a projector casts its light in a particular setting, which is then appropriated by those customarily excluded by the institution of cinema in its commodity form.

show abstract

“… Other sources on itinerant and/or portable cinema include Wasson (, ), Acland (), Lester (), Mahadevan (), and MacDonald (). …”

mentioning

confidence: 99%

“…Other sources on itinerant and/or portable cinema includeWasson (2012Wasson ( , 2013,Acland (2009), Lester (2008,Mahadevan (2010), and MacDonald (2016). 2 For an impressive photographic archive of the stand-alone cinema and documentation on their extinction in Thailand and Southeast Asia, see Phillip Jablon's Southeast Asia Mov-…”

mentioning

confidence: 99%

Projecting Films to Spirits: On Shrines as Conjunctural Space and the Ritual Economy of Outdoor Cinema in Bangkok

MacDonald¹

2017

Visual Anthropology Review

View full text Add to dashboard Cite

show abstract

Bibliography

2022

A Companion to American Agricultural History

View full text Add to dashboard Cite

Film lessons: early cinema for historians of science

Olszynko-Gryn

2016

Br J Hist Sci

View full text Add to dashboard Cite

Despite much excellent work over the years, the vast history of scientific filmmaking is still largely unknown. Historians of science have long been concerned with visual culture, communication and the public sphere on the one hand, and with expertise, knowledge production and experimental practice on the other. Scientists, we know, drew pictures, took photographs and made three-dimensional models. Rather like models, films could not be printed in journals until the digital era, and this limited their usefulness as evidence. But that did not stop researchers from making movies for projection at conferences as well as in lecture halls, museums and other public venues, not to mention for breaking down into individual frames for analysis. Historians of science are more likely to be found in the library, archive or museum than the darkened screening room, and much work is still needed to demonstrate the major effects of cinema on scientific knowledge. Film may have taken as long to change science as other areas of social life, but one can begin to glimpse important ways in which 'image machines' (cameras, projectors and the like) were beginning to mediate between backstage experimental work and more public demonstration even around 1900.

show abstract

Suitcase Cinema

Cited by 4 publications

References 0 publications

Projecting Films to Spirits: On Shrines as Conjunctural Space and the Ritual Economy of Outdoor Cinema in Bangkok

Projecting Films to Spirits: On Shrines as Conjunctural Space and the Ritual Economy of Outdoor Cinema in Bangkok

Bibliography

Film lessons: early cinema for historians of science

Contact Info

Product

Resources

About