Mapping film programming across post-war Europe (1952) arts and media

Thunnis van Oort; Åsa Jernudd; Kathleen Lotze; Clara Pafort-Overduin; Daniël Biltereyst; Jaap Boter; Silvia Dibeltulo; Pier Ercole; Philippe Meers; Terezia Porubcanska; Daniela Treveri Gennari; Liesbeth van de Vijver

doi:10.1163/24523666-00502009

Mapping film programming across post-war Europe (1952) arts and media

Thunnis van Oort
, Åsa Jernudd
, Kathleen Lotze
, Clara Pafort-Overduin
, Daniël Biltereyst
, Jaap Boter
, Silvia Dibeltulo
, Pier Ercole
, Philippe Meers
, Terezia Porubcanska
, Daniela Treveri Gennari
, Liesbeth van de Vijver

Research output: Contribution to Journal › Article › Academic › peer-review

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.

Original language	English
Pages (from-to)	109-125
Number of pages	17
Journal	Research Data Journal for the Humanities and Social Sciences
Volume	5
Issue number	2
DOIs	https://doi.org/10.1163/24523666-00502009
Publication status	Published - Nov 2020

Bibliographical note

Special Issue: Structured Data for Performing Arts History, edited by Thunnis van Oort and Julia Noordegraaf.

Funding Information:
The film programming data set for 1952 assembled for this article was originally collected for different projects that have been ongoing at different points in time starting already in the late 1970s by Karel Dibbets, which formed the basis of the Cinema Context database later and from which parts of the data set for Rotterdam was extracted (). The Cinema Context database pioneered the practice of collecting historical data for cinema exhibition and contains records of films, cinemas, film industry professionals and companies in the Netherlands from the 1890s to our day ( http://www.cinemacontext.nl ; see also ; ). The Rotterdam data set was subsequently supplemented with programming data collected for the DIGIFIL project at the University of Amsterdam ( CLARIAH , 2018; see https://www.clariah.nl/ ). The Antwerp and Ghent data sets were constructed within the Enlightened City research project (The Flemish Research Foundation FWO , 2005–2008), the Gent Kinemastad research project (Ghent University Research Council BOF , 2009–2013) and the Antwerpen Kinemastad project (Antwerp University Research Council bof , 2009–2013).

Publisher Copyright:
© VAN OORT ET AL., 2020.

Funding

The film programming data set for 1952 assembled for this article was originally collected for different projects that have been ongoing at different points in time starting already in the late 1970s by Karel Dibbets, which formed the basis of the Cinema Context database later and from which parts of the data set for Rotterdam was extracted (). The Cinema Context database pioneered the practice of collecting historical data for cinema exhibition and contains records of films, cinemas, film industry professionals and companies in the Netherlands from the 1890s to our day ( http://www.cinemacontext.nl ; see also ; ). The Rotterdam data set was subsequently supplemented with programming data collected for the DIGIFIL project at the University of Amsterdam ( CLARIAH , 2018; see https://www.clariah.nl/ ). The Antwerp and Ghent data sets were constructed within the Enlightened City research project (The Flemish Research Foundation FWO , 2005–2008), the Gent Kinemastad research project (Ghent University Research Council BOF , 2009–2013) and the Antwerpen Kinemastad project (Antwerp University Research Council bof , 2009–2013).

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van Oort, T., Jernudd, Å., Lotze, K., Pafort-Overduin, C., Biltereyst, D., Boter, J., Dibeltulo, S., Ercole, P., Meers, P., Porubcanska, T., Gennari, D. T., & van de Vijver, L. (2020). Mapping film programming across post-war Europe (1952) arts and media. Research Data Journal for the Humanities and Social Sciences, 5(2), 109-125. https://doi.org/10.1163/24523666-00502009

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title = "Mapping film programming across post-war Europe (1952) arts and media",

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.",

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note = "Special Issue: Structured Data for Performing Arts History, edited by Thunnis van Oort and Julia Noordegraaf. Funding Information: The film programming data set for 1952 assembled for this article was originally collected for different projects that have been ongoing at different points in time starting already in the late 1970s by Karel Dibbets, which formed the basis of the Cinema Context database later and from which parts of the data set for Rotterdam was extracted (). The Cinema Context database pioneered the practice of collecting historical data for cinema exhibition and contains records of films, cinemas, film industry professionals and companies in the Netherlands from the 1890s to our day ( http://www.cinemacontext.nl ; see also ; ). The Rotterdam data set was subsequently supplemented with programming data collected for the DIGIFIL project at the University of Amsterdam ( CLARIAH , 2018; see https://www.clariah.nl/ ). The Antwerp and Ghent data sets were constructed within the Enlightened City research project (The Flemish Research Foundation FWO , 2005–2008), the Gent Kinemastad research project (Ghent University Research Council BOF , 2009–2013) and the Antwerpen Kinemastad project (Antwerp University Research Council bof , 2009–2013). Publisher Copyright: {\textcopyright} VAN OORT ET AL., 2020.",

year = "2020",

month = nov,

doi = "10.1163/24523666-00502009",

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van Oort, T, Jernudd, Å, Lotze, K, Pafort-Overduin, C, Biltereyst, D, Boter, J, Dibeltulo, S, Ercole, P, Meers, P, Porubcanska, T, Gennari, DT & van de Vijver, L 2020, 'Mapping film programming across post-war Europe (1952) arts and media', Research Data Journal for the Humanities and Social Sciences, vol. 5, no. 2, pp. 109-125. https://doi.org/10.1163/24523666-00502009

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AU - Biltereyst, Daniël

AU - Boter, Jaap

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AU - Meers, Philippe

AU - Porubcanska, Terezia

AU - Gennari, Daniela Treveri

AU - van de Vijver, Liesbeth

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Mapping film programming across post-war Europe (1952) arts and media

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