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Cinema Parisien 3D3D Visualization as a Tool for Studying the History of Cinema-goingNoordegraaf, J.J.; Opgenhaffen, L.; Bakker, N.

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Citation for published version (APA):Noordegraaf, J. J., Opgenhaffen, L., & Bakker, N. (2016). Cinema Parisien 3D: 3D Visualization as a Tool forStudying the History of Cinema-going. Paper presented at DH Benelux 2016, .

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Download date: 06 Apr 2020

Cinema Parisien 3D

Julia Noordegraaf and Ivan Kisjes

3D Visualization as a Tool for Cinema History

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400 years of cultural industries in Amsterdam

Cinema Parisien 3D

www.create.humanities.uva.nl

Data Science in the Humanities 4

Datasets 400 years of newspapers KB Short-Title Catalogue Netherlands EcArtiCo: Amsterdam art market Golden Age Study Platform for Interlocking Nationalisms Cinema Context Collection Theater Institute Netherlands

Central questions:

How have cultural industries shaped Amsterdam’s unique position in a European and Global context, from the 17th Century until the present day?

How did Amsterdam’s urban economic and social fabric contribute to the development of its creative industries?

Cinema Parisien 3D

Programme:

1. Historiography

2. Data and sources

3. Methods & Tools

Organisation:

1. Computational analysis & visualization2. Golden Age3. ‘Long’ 19th Century4. 20th and 21st Centuries5. Data retrieval & analysis6. Amsterdam 4D

Cinema Parisien 3D

Young researchers Postdoc researcher Pre-PhD fellows Student-assistents

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Julia Noordegraaf (UvA Mediastudies)

Loes Opgenhaffen (CREATE 3D modeler)

Norbert Bakker (student-assistant CREATE)

Ivan Kisjes(CREATE programmer)

Aims of the project

Utilization of digitized cinema heritage collections 3D visualization as a tool for cinema history

3D visualization of Émile Reynaud’s Théâtre Optique, Museu del Cinema Girona

Cinema Parisien

First permanent cinema theatre in Amsterdam Opened in 1910 Art deco interior in 1924 Adult movie theatre Closed in 1987 “Parisien zaal” MoW register

Cinema Parisien 3D

Spatial turn in Cinema StudiesSee cinema as “social experience, conditioned by factors such as transportation networks, ethnicity, and social group as well as cinema architecture, ticket prices, and the changing patterns of work and leisure.”

Julia Hallam and Les Roberts, Locating the Moving Image: New Approaches to Film and Place. Bloomington: Indiana UP, 2014.

Cinema Parisien 3D

New Cinema History

“The experience of cinema does not exist outside the experience of space, and, as such, is the product of historically specific, embedded material practices – of performance, of display, of exchange, of architecture, social interaction, of remembering, as well as of signification and cinematic representation.”

Robert C. Allen, “The Place of Space in Film Historiography.” Cinema in Context. Special issue of Tijdschrift voor Mediageschiedenis 9.2 (2006): 15-27.

Cinema Parisien 3D

New Cinema History

“The experience of cinema does not exist outside the experience of space, and, as such, is the product of historically specific, embedded material practices – of performance, of display, of exchange, of architecture, social interaction, of remembering, as well as of signification and cinematic representation.”

Robert C. Allen, “The Place of Space in Film Historiography.” Cinema in Context. Special issue of Tijdschrift voor Mediageschiedenis 9.2 (2006): 15-27.

Cinema Parisien 3D

New Cinema History

“The experience of cinema does not exist outside the experience of space, and, as such, is the product of historically specific, embedded material practices – of performance, of display, of exchange, of architecture, social interaction, of remembering, as well as of signification and cinematic representation.”

Robert C. Allen, “The Place of Space in Film Historiography.” Cinema in Context. Special issue of Tijdschrift voor Mediageschiedenis 9.2 (2006): 15-27.

Cinema Parisien 3D

New Cinema History

“The experience of cinema does not exist outside the experience of space, and, as such, is the product of historically specific, embedded material practices – of performance, of display, of exchange, of architecture, social interaction, of remembering, as well as of signification and cinematic representation.”

Robert C. Allen, “The Place of Space in Film Historiography.” Cinema in Context. Special issue of Tijdschrift voor Mediageschiedenis 9.2 (2006): 15-27.

Cinema Parisien 3D

New Cinema History

“The experience of cinema does not exist outside the experience of space, and, as such, is the product of historically specific, embedded material practices – of performance, of display, of exchange, of architecture, social interaction, of remembering, as well as of signification and cinematic representation.”

Robert C. Allen, “The Place of Space in Film Historiography.” Cinema in Context. Special issue of Tijdschrift voor Mediageschiedenis 9.2 (2006): 15-27.

Cinema Parisien 3D

3D as Research Tool

Re-creating no longer existing places Externalizing the process of thought Testing different hypotheses Validation through documentation The London Charter (2009): “Paradata” Present users with free navigation of “content in

context”

Cinema Parisien 3D

Level of Certainty Index

Color chart divided in 10 colors. From 1 to 10, resp. from red to green, from – tot +.

Red/1/- = uncertain or no evidence. This part of the virtual reconstruction is totally imagined.

Green/10/+ = certain. The CH object is still there or parts remained visible.

Loes Opgenhaffen, 3D modeler CREATE

Cinema Parisien 3D

Results

Focus on 1910 version Extensive documentation Database for sources Creation of “paradata” Evaluation relevance

history cinema consumption

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Cinema Parisien 3D

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Evaluation

Transparent model Architecture reconstructed Impression of performance and exchange Evocation social context abstract (scale, no function) Interdisciplinary research Testing previous assumptions (“mincer” system) Convey sense of space and place (“historical sensation”) New form of historiography?

Cinema Parisien 3D

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