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"McKernan, Luke"
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Audiovisual Archives and the Web
This article is based on a talk I gave in January 2016 that questioned the nature of the audiovisual archive. 1 The question is made through a comparison between traditional film archiving and YouTube, and by looking at the emerging form of sound and video collection which is the web archive. Examples are drawn from British audiovisual production and archival policy.
Journal Article
Rituals and Records: the Films of the 1924 and 1928 Olympic Games
The title of Allen Guttmann's landmark study of sports history, From Ritual to Record, captures the way cinematic treatments of the Olympic Games, Europe's most resonant sporting invention, developed in the early twentieth century. Projected film and the modern Olympic Games began in the same year, 1896, and the way the two phenomena have grown together demonstrates a progression from formality and ritual to an ever-increasing emphasis on individual, nation and achievement. This transition from ritual to record is demonstrated by two Olympic films from the European Games of Paris 1924 and Amsterdam 1928, Les Jeux Olympiques Paris 1924 and De Olympische Spelen. These cinematic records are not only documentary records of the events they portray, but are an important reminder that modern sports are witnessed by most not as stadium spectators but as viewers – in the case of the 1924 and 1928 films, as members of a cinema audience. The film record is essential to our understanding of the popularisation of modern sports, while through their contrary impulses to document and to idealise (particularly through the use of slow-motion photography), the two films demonstrate what is meaningful about Olympic sport.
Journal Article
'The Modern Elixir of Life': Kinemacolor, Royalty and the Delhi Durbar
Kinemacolor, the first successful natural colour motion picture system, had a pronounced social effect as well as a marked importance for the film industry during the years 1908-1914. Kinemacolor's theatricalstyle presentation, the advanced ticket prices it attracted, the 'high class' audiences that it drew, its licensing schemes, and its innovative technology, were unique in the fledgling film industry. It became particularly associated with British royalty and the display of colourful pageantry. Kinemacolor's invention coincided with a succession of spectacular royal events, including the coronation of King George V, the investiture of the Prince of Wales, and especially the Delhi Durbar, held to mark the enthronement of the new King-Emperor of India. The resulting Kinemacolor spectacular, With Our King and Queen Through India, became one of the most memorable films of the era. The essay discusses the earlier Kinemacolor royal films and analyzes the production and exhibition of the Durbar film, its reception, and its lasting resonance.
Journal Article
'Only the screen was silent . . .': Memories of children's cinema-going in London before the First World War
No one thought to interview the British cinema audiences of the pre-First World War period at the time, but there is a rich vein of personal testimony available which has been hitherto overlooked by cinema historians. 5 This testimony can be found recorded in memoirs (both published and unpublished records deposited in local archives) and oral history recordings, notably the 444 extensive interviews conducted in the 1970s by Paul Thompson and his team, as part of a study of the Edwardian era which resulted in his book The Edwardians: The Remaking of British Society . 6 Inevitably, given the gap in time between the experience of pre-First World War cinema-going and the production of memoirs or interviews, most of this personal testimony documents the child's experience of cinema. Here would be found advertising displays, tiled or carpeted flooring, and plaster casting on the walls and ceilings, done out in white paint and gold leaf. 24 As cinemas grew, both in number and in size, so the foyer became of increasing importance as a means to control crowds, particularly with the continuous show policy adopted by many London cinemas before 1914, where a waiting audience needed to be contained before it could replace that heading for the exits. 5. The picture house is emphatically the poor man's theatre, and it must always be remembered, is the only organisation which systematically provides amusement for children.83 This new audience was empowered by an entertainment space which it could afford and command as its own, akin to what the music hall had been for a previous generation but with the added strengths of the huge increase in the numbers entertained, and the regularity and frequency of that entertainment. Metropolitan Police reports on attendance at shop shows in the Whitechapel district in March 1909 indicate that up to half the audience were children. 100 out of an audience of 280 at the Whitechapel Picture Theatre were children; fifty percent were children at an unnamed venue at 63 Whitechapel Road; 100 out of 150 at Happy Land in Commercial Road; 200 out of 300 were children at Solomon Templinski's show in Hanbury Street; over fifty percent of an audience of 200 at Philip Sasovsky's show in Brick Lane.
Journal Article