Understanding The Hobbit: the cross-national and cross-linguistic reception of a global media product in Belgium, France and the Netherlands

The Hobbit franchise, as many global media products, reaches audiences worldwide. Audience members apparently consume a uniform media product. But do they? The World Hobbit Project offers a new and exciting opportunity to explore differences and similarities, for it provides us with audiences' understandings of the trilogy across languages and nationalities. In this paper we conduct a statistical analysis on differences and similarities in understandings of The Hobbit trilogy between Belgium, the Netherlands, and France – both in what audiences do and do not feel The Hobbit films to be. Analyzing this particular region in Europe provides an extraordinary opportunity, for The World Hobbit project allows us to compare on the language level (the Dutch and French-speaking Belgian regions with respectively the Netherlands and France), as well as on the level of national identities (comparing the three countries amongst each other). In doing so, we are able to further understand what informs geographical and linguistic differences in the consumption of a uniform media product. As such, this paper touches upon cultural hegemony, cross-border flows of fiction, language and cultural proximity

Going to the exclusive show : exhibition strategies and moviegoing memories of Disneys animated feature films in Ghent (1937-1982)

This is a case study of the exploitation and experience of Disney's animated feature films from the 1930s to the 1980s in Ghent (Belgium). It is a historical study of programming practices and financial strategies which constructed childhood memories on watching Disney. The study is a contribution to a historical understanding of the implications of global distribution of film as cultural products and the counter pull of localism. Using a multi-method approach, the argument is made that the scarce screenings were strategically programmed to uplift the moviegoing experience into something out of the ordinary in everyday life. Programming and revenue data characterize the screenings as exclusive and generating high intakes. Consequently, the remembered screenings did not exhale an easy accessible social status nor an image of pervasiveness of popular childhood film, contradictory to conventional accounts of Disney's ubiquity in popular culture

Structured film-viewing preferences and practices : a quantitative analysis of hierarchies in screen and content selection amongst young people in Flanders

Aleit Veenstra, Philippe Meers and Daniel Biltereyst address a specific segment of a typical small-market audience—Flemish youth film viewers. Their study “Structured Film Viewing Preferences and Practices: A Quantitative Analysis of Hierarchies in Screen and Content Selection among Young People in Flanders” deals with one of the symptomatic problems of the era of convergent audiences, the multiplication of screens used for domestic consumption of audiovisual content. Building an intriguing empirical design, Veenstra and her colleagues aim to identify patterns of screen selection and their relation to the perceived value of Hollywood, European and domestic Flemish films. Their conclusion is that there are well-articulated hierarchies applied by the audience members in the selection of both film titles and reception screens and that, to put it simply, in the case of screens, size matters

Film history, cultural memory, and the experience of cinema

The Routledge Companion to New Cinema History presents the most recent approaches and methods in the study of the social experience of cinema, from its origins in vaudeville and travelling exhibition to the multiplexes of today

Comparing historical cinema cultures: Reflections on new cinema history and comparison with a cross-national case study on Antwerp and Rotterdam

Unlike other disciplines within the humanities and the social sciences, it is safe to argue that comparative research is only weakly developed within film and cinema studies. Research on film style, ideology, authorship, stardom, genres, and other perspectives within a humanities-oriented film studies often implicitly emphasizes the complexity, unicity, and idiosyncrasy of films and of their particular genres, authors, stars, and meanings. Within this approach, which Robert C. Allen and Douglas Gomery (1985) provocatively labeled the “masterpiece tradition” within film historiography, comparative research modes are obviously not high on the agenda. On the contrary, comparison is regarded as potentially impeding the full appreciation and understanding of films and of the realm of cinema