11. ‘No Hits, No Runs, Just Terrors’: Exhibition, Cultural Distinctions and Cult Audiences at the Rialto Cinema in the 1930s and 1940s
- Richard Maltby2,
- Daniel Biltereyst3,
- Philippe Meers4
Published Online: 20 APR 2011
DOI: 10.1002/9781444396416.ch11
Copyright © 2011 Blackwell Publishing Ltd.
Book Title
Explorations in New Cinema History: Approaches and Case Studies
Additional Information
How to Cite
Snelson, T. and Jancovich, M. (2011) ‘No Hits, No Runs, Just Terrors’: Exhibition, Cultural Distinctions and Cult Audiences at the Rialto Cinema in the 1930s and 1940s, in Explorations in New Cinema History: Approaches and Case Studies (eds R. Maltby, D. Biltereyst and P. Meers), Wiley-Blackwell, Oxford, UK. doi: 10.1002/9781444396416.ch11
Editor Information
- 2
Flinders University, South Australia
- 3
Department of Communication Studies, Ghent University, Belgium
- 4
University of Antwerp, Belgium
Publication History
- Published Online: 20 APR 2011
- Published Print: 8 APR 2011
ISBN Information
Print ISBN: 9781405199490
Online ISBN: 9781444396416
- Summary
- Chapter
- References
Keywords:
- venues and their publics - ‘no hits, no runs, just terrors’ exhibition, cultural distinctions and cult audiences at Rialto Cinema, 1930s and 1940s;
- film exhibition history, and shared pleasures - the Balaban and Katz chain, successful and imitated exhibitors of 1920s;
- exhibition practices of Rialto Cinema in Times Square, New York - opposition to Balaban and Katz chain;
- The Rialto, example of a cinema - imbued with character, venue for cult movie scenes;
- Arthur Mayer, and the Rialto against Hollywood - othering of femininity, subcultural tastes;
- the theatre, bought by local impresario ‘Roxy’ Rothafel - the Rialto as New York's first stageless motion picture house;
- Mayer's new Art Moderne theatre - distinguished, by its minimalism, utilitarianism and restraint;
- Mayer, and the Rialto's programming - ‘better pictures’ for a new movie-going public;
- success of Rebecca (1940), women's films - as horror films, featuring female leads;
- Mayer's cultivation of disreputable image - puns and plays on words
Summary
This chapter contains sections titled:
Introduction
Reversing the Deluxe Policy: Location, Service, the Building and Programming
‘As Offensively Unfeminine as a Sailor's Pipe’: Gender, Taste and Subcultural Capital
Making Fun: Sensational, Humorous and Disreputable
‘Homicide Connoisseurs’: Cult Audiences, Cultural Capital and Class Tastes
Conclusion
References