Sex in the city: the rise of soft-erotic film culture in Cinema Leopold, Ghent, 1945-1954

Since the 1990s, film studies saw a disciplinary shift from approaches favoring a textual and ideological analysis of films to a broader understanding of the socio-cultural history of cinema under the banner of new cinema history. This turn not only allowed for ‘niche’ research domains to flourish such as film economics or cinema memory research, or for new empirical and critical methodologies to be applied to film and cinema history. This change in researching and writing film/cinema history also shed light on previously marginalized, neglected or uncharted film cultures and histories, burgeoning scholarship in for instance (s)exploitation cinema. This contribution examines a peculiar part of post-war local film culture in the Belgian city of Ghent, more precisely the one around the city-center soft-erotic cinema Cinema Leopold (1945-54). The research is based on a programming and box-office database compiled from archival sources and contextualized by other data (internal and external correspondence, posters,…) coming from the business archive of Octave Bonnevalle, Cinema Leopold’s founding pater familias (material kept in the State Archives of Belgium; RAB/B70/1928-1977). The database now contains information on 625 film titles shown between 1945 and 1954, out of which 233 were unidentified (due to lack of information). Although the database is at times crippled by source inconsistencies, it is extremely rich in documenting the everyday practices of a cinema that gradually turned into a soft-erotic movie theater. The database allows for some remarkable findings concerning shifts in the origin of films, their production years, genres, censorship and popularity. The key finding is that Cinema Leopold started out after the Second World War with a child-friendly, mainstream Hollywood-oriented film program, as did most cinemas in Ghent, but its profile slowly tilted towards more mature audiences and provocative film genres. These included French ‘risqué’ feature films containing some forms of nudity like Perfectionist/Un Grand Patron (Ciampi, 1951) and documentaries on venereal diseases like the successful Austrian Creeping Poison/Schleichendes Gift (Wallbrück, 1946), but also auteur movies such as Bergman’s Port of Call/Hamnstad (1948) were shown. It is interesting how Leopold walked a fine line between innovative, bold European art-house cinema, soft-erotic ‘didactic’ movies and flat-out commercial soft-porn. By 1954, Leopold had gathered a loyal crowd, which kept the cinema alive until 1981 despite the several law suits and trials. This micro-history offers a remarkable example of the post-war flourishing of alternative, yet profit-driven cinema circuits, riddled with media controversies and censorship

Research methodology in montanistic tourism

Research methodology in montanistic tourism involves the archival research and study of special literature, surface and underground field survey, the analysis of findings of rock fragments, mineral composition, traces of metallurgical processes, fragments of pottery, etc. A separate problem is the study and evaluation of the development of mining and post-mining landscapes, focusing on the entire supply chain of resource industries and their impact on the cultural development of the country

PROJECT ÉVORA 3D: RESEARCH, METHODOLOGY, RECONSTRUCTION AND VISUALIZATION

The Évora 3D project was born from the collaboration between the Municipality and the University of Évora, through the two research centres of CIDEHUS1 and CHAIA2, with the objective of completing a virtual reconstruction of the city in a longtime frame. In the national and international context, the use of new technologies has led to the diversification of this type of proposal, both at the urban level and in the reconstruction of concrete spaces. The application of this same model to Évora, contemplating several chronological layers, seems to impose itself in a city that, in the medieval and modern periods, was one of the most important of the kingdom, as Court city, and that today is classified as World Heritage Site

Digital information and the 'privatisation of knowledge'

Purpose of this paper: To point out that past models of information ownership may not carry over to the age of digital information. The fact that public ownership of information (for example, by means of national and public library collections) created social benefits in the past does not mean that a greater degree of private sector involvement in information provision in the knowledge society of today is synonymous with an abandonment of past ideals of social information provision. Design/methodology/approach: A brief review of recent issues in digital preservation and national electronic heritage management, with an examination of the public/private sector characteristics of each issue. Findings: Private companies and philanthropic endeavours focussing on the business of digital information provision have done some things - which in the past we have associated with the public domain - remarkably well. It is probably fair to say that this has occurred against the pattern of expectation of the library profession. Research limitations/Implications:The premise of this paper is that LIS research aimed at predicting future patterns of problem solving in information work should avoid the narrow use of patterns of public-private relationships inherited from a previous, print-based information order. Practical implications: This paper suggests practical ways in which the library and information profession can improve digital library services by looking to form creative partnerships with private sector problem solvers. What is original/value of the paper? This paper argues that the LIS profession should not take a doctrinaire approach to commercial company involvement in 'our' information world. Librarians should facilitate collaboration between all parties, both public and private, to create original solutions to contemporary information provision problems. In this way we can help create pragmatic, non-doctrinaire solutions that really do work for the citizens of our contemporary information society

Audiovisual research collections and their preservation

The basic problem of primary audio and video research materials is clearly shown by the survey: A great and important part of the entire heritage is still outside archival custody in the narrower sense, scattered over many institutions in fairy small collections, and even in private hands. reservation following generally accepted standards can only be carried out effectively if collections represent critical mass. Specialised audiovisual archives will solve their problems, as they will sooner or later succeed in getting appropriate funding to achieve their aims. A very encouraging example is the case of the Netherlands. The larger audiovisual research archives will also manage, more or less autonomously, the transfer of contents in time. For a considerable part of the research collections, however, the concept of cooperative models and competence centres is the only viable model to successfullly safeguard their holdings. Their organisation and funding is a considerable challenge for the scientific community. TAPE has significantly raised awareness of the fact that, unless action is swiftly taken, the loss of audiovisual materials is inevitable. TAPE’s international and regional workshops were generally overbooked. While TAPE was already underway, several other projects for the promotion of archives have received grants from organisations other than the European Commission, inter alia support for the St. Petersburg Phonogram Archive, and the Folklore Archive in Tirana, obviously as a result of a better understanding of the need for audiovisual preservation. When the TAPE project started its partners assumed that cooperative projects would fail because of the notorious distrust of researchers, specifically in the post-communist countries. One of the most encouraging surprises was to learn that, at least in the most recent survey, it became apparent that this social obstacle is fading out. TAPE may have contributed to this important development

Experimental and Creative Approaches to Collecting and Distributing New Media Art within Regional Arts Organisations

This article is an overview of preliminary research undertaken for the creation of a framework for collecting and distributing new media art within regional art galleries in the U.K. From the 1960s, artists have experimented using computers and software as production tools to create artworks ranging from static, algorithmic drawings on paper to installations with complex, interactive and process-oriented behaviours. The art-form has evolved into multiple strands of production, presentation and distribution. But are we, as collectors, researchers, artists and enthusiasts facing an uncertain future concerning the integration of new media art into institutional cultural organisations? Recently, concerns have been raised by curators regarding the importance of learning how to collect new media art if there is to be any hope of preserving the artworks as well as their histories. Traditional collections management approaches must evolve to take into account the variable characteristics of new media artworks. As I will discuss in this article, although regarded as a barrier to collecting new media artworks, artists and curators at individual institutions have recently taken steps to tackle curatorial and collections management activities concerning the often unpredictable and unstable behaviours of new media artworks by collaboration and experimentation. This method has proved successful with some mainstream, university and municipal galleries prior to acquiring or commissioning new artworks into their collections. This paper purports that by collaboration, experimentation and the sharing of knowledge and resources, these concerns may be conquered to preserve and make new media art accessible for future generations to enjoy and not to lament over its disappearance

Records Management for Municipal Government: A Reference Guide for City Officials and Municipal Public Records Custodians (2009)

A basic summary of laws, regulations and practices regarding records management by city governmental offices

Digitization of the Architect Antonio Tenreiro Brochón's legacy

Antonio Tenreiro Brochón (A Coruña 1923 - 2006) is one of the key figures in the recovery of modernity that occurred in Spain from the 1950s onwards, when the autarchic period following the Civil War was overcome and a new generation of architects joined the profession, detached from previous historicist languages and reintroducing modern principles in a critical and reflective manner. As a result of his professional activity, carried out between 1951 and 1981, a documentary fund was generated which he himself donated to the City Council of A Coruña in 2001, being preserved since then in the Archivo Municipal de A Coruña. In 2017, Fundación Alejandro de la Sota proposed the incorporation of this legacy into “Archivos de Arquitectos del Siglo XX”. This experience has allowed Tenreiro Brochón most outstanding projects to be available on the web. The aim of this study is to assess and analyse the reflection process carried out for the documentary selection, as well as other critical decisions of both a theoretical and technical nature taken in the same. It is proposed here as a model of interdisciplinary action in the case of professional archives, concretised in the archives of architects' offices

Records Management for Municipal Government: A Reference Guide for City Officials and Municipal Public Records Custodians (2007)

A basic summary of laws, regulations and practices regarding records management by city governmental offices