Cinema-going in German-occupied Territory in the Second World War. The Impact of Film Market Regulations on Supply and Demand in Brno, Brussels, Krakow and The Hague

SKOPAL, Pavel, Terézia PORUBČANSKÁ, Clara PAFORT-OVERDUIN, Thunnis VAN OORT, Andrzej DĘBSKI, Roel VANDE WINKEL a Karina PRYT. Cinema-going in German-occupied Territory in the Second World War. The Impact of Film Market Regulations on Supply and Demand in Brno, Brussels, Krakow and The Hague. In The Palgrave Handbook of Comparative New Cinema Histories. Cham: Palgrave Macmillan, 2024, s. 307-331. ISBN 978-3-031-38788-3. Dostupné z: https://dx.doi.org/10.1007/978-3-031-38789-0.

Základní údaje

• Originální název: Cinema-going in German-occupied Territory in the Second World War. The Impact of Film Market Regulations on Supply and Demand in Brno, Brussels, Krakow and The Hague
• Autoři: SKOPAL, Pavel (203 Česká republika, garant, domácí), Terézia PORUBČANSKÁ (703 Slovensko), Clara PAFORT-OVERDUIN (528 Nizozemské království), Thunnis VAN OORT (528 Nizozemské království), Andrzej DĘBSKI (616 Polsko), Roel VANDE WINKEL (56 Belgie) a Karina PRYT (616 Polsko).
• Vydání: Cham, The Palgrave Handbook of Comparative New Cinema Histories, od s. 307-331, 25 s. 2024.
• Nakladatel: Palgrave Macmillan

Další údaje

• Originální jazyk: angličtina
• Typ výsledku: Kapitola resp. kapitoly v odborné knize
• Obor: 60405 Studies on Film, Radio and Television
• Stát vydavatele: Švýcarsko
• Utajení: není předmětem státního či obchodního tajemství
• Forma vydání: tištěná verze "print"
• Organizační jednotka: Filozofická fakulta
• ISBN: 978-3-031-38788-3
• Doi: http://dx.doi.org/10.1007/978-3-031-38789-0
• Klíčová slova anglicky: Film consumption; Cinema-going practices; New Cinema History; Film programming; Audience studies; Film distribution; Occupation; World War II
• Příznaky: Mezinárodní význam, Recenzováno

Anotace

This chapter analyses the effects of the policies of the Nazi regime on film supply and demand in four cities in four countries during the Second World War: Brussels (Belgium), The Hague (the Netherlands), Krakow (Poland) and Brno (Czechoslovakia, Protectorate of Bohemia and Moravia). We show that even though the German occupiers completely controlled film exhibition, distribution and production, still regulations and practices were somewhat geared to national and local cultures and film preferences. In Brussels, this meant that a large portion of French films could still be shown, and in Brno it meant that domestic production could maintain a relatively high output. In the Netherlands, German films obtained a virtual monopoly position. They had been popular from before the war, and this trend continued during the occupation. In Poland German films dominated as well, but the Krakow audiences stayed away when only German films were offered in the cinemas.