{"id":9999,"date":"2022-01-19T11:35:57","date_gmt":"2022-01-19T10:35:57","guid":{"rendered":"https:\/\/www.lancaster.ac.uk\/fass\/projects\/cmda\/?page_id=9999"},"modified":"2022-05-20T14:33:45","modified_gmt":"2022-05-20T13:33:45","slug":"glasgow-audio-works","status":"publish","type":"page","link":"https:\/\/www.lancaster.ac.uk\/fass\/projects\/cmda\/index.php\/glasgow-audio-works\/","title":{"rendered":"Glasgow Audio Works"},"content":{"rendered":"
\"\"

Screenshot of Glasgow Audio Tour leaflet<\/p><\/div>\n

Audio Walking Tour: Glasgow Cinemas of the 1930s<\/strong><\/p>\n

Please join us on our walking tour around Glasgow. Led by film historian Professor Annette Kuhn and featuring interviews with cinemagoers from the period, we explore the sites of some of most popular cinema in the 1930s. The tours can either be followed on site or at home using the accompanying audio file and map.<\/p>\n

<\/i> Audio tour<\/a>
\n <\/i> Accompanying leaflet (with map)<\/a><\/p>\n

\n

Audio Features<\/strong><\/p>\n

\"\"<\/a>

‘\u2018Matinee Mayhem\u2019 by T. McGoran<\/p><\/div>\n

‘Matinee Specials’ vignette<\/strong><\/em><\/p>\n

Matinees were a popular topic of discussion in the CCINTB interviews and was also a key focus of analysis in An Everyday Magic: Cinema and Cultural Memory<\/em> (London and New York: I. B. Tauris, 2002), Annette Kuhn\u2019s book that arose out of the earlier project. Chapter 3, entitled \u2018Jam Jars and Cliffhangers\u2019, looks in detail at the topic:<\/p>\n

\u2018In the matinee, the boy or girl becomes part of the crowd, and with the merging of individual and collective in a children-only space comes temporary freedom from the strictures of the adult world. Significantly, memories of subversions of adult rules, particularly those surrounding admission to cinemas, are similarly discursively organised along collective\/repetitive lines. (p. 47)<\/p><\/blockquote>\n

Memories of visits to matinees in particular emphasise collective audience behaviour as against the informant\u2019s own responses and activities. Stories of children yelling at characters on the screen (\u2018he\u2019s behind yer!\u2019), booing and cheering, rushing around the auditorium, and using nuts and fruit as missiles abound\u2019.<\/p><\/blockquote>\n

(pp. 58-9)<\/p>\n

In all these accounts, the picture house figures very much as the children\u2019s domain, beyond the writ of adult sanction. And yet while such memories of mayhem are vividly, even gleefully, recounted, their narration often has a detached quality, as if the informant is distancing himself or herself from such bad behaviour.<\/p><\/blockquote>\n

(p.60)
\n<\/i> Penny Matinees <\/a><\/p>\n

‘Horror Films’ vignette<\/strong><\/em><\/p>\n

Horror films also made a lasting impression on many interviewees. Chapter 4 of An Everyday Magic<\/em> (\u2018When the Child Looks\u2019), explores the ways in which the recollections of being frightened and frightening films represented a very particular kind of cinema memory and how, for cinema-goers of the interwar period, these memories often had their own \u2018distinctive structure of feeling and cultural resonance\u2019 (pp. 66-7).<\/p>\n

\u2018Many interviewees and correspondents offer similar recollections of frightening films [\u2026] these accounts are precise in their recollection of the images and scenes which terrified their narrators. So uncommonly vivid and detailed are these stories that it sometimes seems as if, in the process of narrating them, informants are accessing the \u2018child\u2019s voice\u2019 within themselves and reliving the experience of being scared out of their wits [\u2026] most then disengage from the past and distance themselves from their impressionable younger selves by passing amused judgement (\u2018It wouldn\u2019t frighten me now\u2019). Laughter is a common accompaniment to these stories.<\/p>\n

While being frightened \u2013 and enjoying being frightened \u2013 by horror stories is a normal, perhaps even a universal, childhood experience, the fears of a generation that grew up in the years between two wars and who spent much of their free time at \u2018the pictures\u2019 have a distinctive structure of feeling and cultural dissonance\u2019 (pp. 66-67).<\/p>\n

\u2018Many informants link their memories of 1930s horror films with the recollections of Boris Karloff, who starred in many, including Frankenstein (James Whale, 1931); The Old Dark House (James Whale, 1931); The Mask of Fu Manchu (Charles Brabin, 1932); The Mummy (Karl Freund, 1932); The Bride of Frankenstein (James Whale, 1935); and Son of Frankenstein (Rowland V. Lee, 1939). Some recall that Karloff was a \u2018great source for impersonations\u2019 (p. 73).<\/p>\n

\u2018Memory-talk about frightening films [\u2026] embodies a highly distinctive mix of contents and discursive registers, typically taking the form of strong anecdotal accounts of isolated scenes or images in films and of narrators\u2019 responses to these. This is in marked contrast with cinema memory in general, in which such vividly detailed anecdotes are most unusual, and it suggests there is something culturally distinctive about the \u2018distress and delight\u2019 of cinema terrors.\u2019 (p. 81).<\/p><\/blockquote>\n

<\/i> Horror Films<\/a><\/p>\n

‘Clothes Styles and Dressing Up’ vignette<\/strong><\/em><\/p>\n

\"\"<\/a>

A page from the ‘Film Fashionland’ magazine<\/p><\/div>\n

Fashion was also a popular topic of discussion in the CCINTB interviews. Chapter 5 of An Everyday Magic (\u2018Growing Up With Cinema\u2019), considers the topic of clothes and dressing-up as part of the general account of the important role cinema played in growing-up.<\/p>\n

\u2018by far the most prominent theme of women\u2019s \u2018growing up\u2019 memories is copying the appearance of female stars \u2013 usually their hairstyles, sometimes their makeup, occasionally their clothes\u2019 (p. 110).<\/p>\n

\u2018Some informants give accounts of great length involving detailed descriptions of certain styles and how these were achieved, and generally giving the impression that considerable time and effort was devoted to these activities\u2019 (p. 111).<\/p>\n

\u2018Copying film stars\u2019 clothes called for a certain amount of cash, or at least some dressmaking skills, hence perhaps the relatively few memories involving clothes\u2019 (p. 114).<\/p>\n

\u2018The theme of \u2018making do\u2019 \u2013 making the best of your appearance on limited means \u2013 surfaces again and again in women\u2019s stories. Even those who lacked the cash or the skills to try out fashions, hairstyles and makeup could still share their dreams with friends\u2019 (p. 117).<\/p><\/blockquote>\n

<\/i> Three Smart Girls<\/em> <\/a><\/p>\n

\n
Credits<\/h5>\n

Sound Design and Post Production<\/strong>
\nSuzy Angus<\/p>\n

Script and Presentation<\/strong>
\nProfessor Annette Kuhn<\/p>\n

Interviewer<\/strong>
\nValentina Bold<\/p>\n

Producer<\/strong>
\nSarah Neely<\/p>\n

Map Illustration<\/strong>
\nThomas McGoran<\/p>\n

Leaflet Design<\/strong>
\nJamie Terrill<\/p>\n

Audio Contributors<\/em><\/strong><\/p>\n

\u201cCosmo\u201d<\/strong>
\nAnthony (Tony) Paterson
\nHelen Smeaton<\/p>\n

\u201cRegal\u201d<\/strong>
\nSheila McWhinnie<\/p>\n

\u201cLa Scala\u201d<\/strong>
\nSheila McWhinnie
\nTony Paterson
\nThomas McGoran<\/p>\n

\u201cGreen\u2019s Playhouse\u201d<\/strong>
\nThomas McGoran
\nMary McCusker
\nTony Paterson<\/p>\n

\u201cRegent\u201d<\/strong>
\nJohn Fowler<\/p>\n

\u201cOdeon\u201d<\/strong>
\nHelen Smeaton<\/p>\n

\u201cCranstons\u201d<\/strong>
\nThomas McGoran<\/p>\n

Additional Audio Features<\/em><\/strong><\/p>\n

\u201cMatinee Specials\u201d<\/strong>
\nMary McCusker
\nSheila McWhinnie
\nThomas McGoran<\/p>\n

\u201cHorror Films\u201d<\/strong>
\nMary McCusker
\nNancie Miller
\nTom Walsh<\/p>\n

\u201cClothes Styles and Dressing Up\u201d<\/strong>
\nMary McCusker
\nSheila McWhinnie
\nSarah Irvine<\/p>\n","protected":false},"excerpt":{"rendered":"

Audio Walking Tour: Glasgow Cinemas of the 1930s Please join us on our walking tour around Glasgow. Led by film historian Professor Annette Kuhn and featuring interviews with cinemagoers from the period, we explore the sites of some of most popular cinema in the 1930s. The tours can either be followed on site or at … Continue reading Glasgow Audio Works<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width-page.php","meta":{"footnotes":""},"class_list":["post-9999","page","type-page","status-publish","hentry","without-featured-image"],"_links":{"self":[{"href":"https:\/\/www.lancaster.ac.uk\/fass\/projects\/cmda\/index.php\/wp-json\/wp\/v2\/pages\/9999","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lancaster.ac.uk\/fass\/projects\/cmda\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.lancaster.ac.uk\/fass\/projects\/cmda\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.lancaster.ac.uk\/fass\/projects\/cmda\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lancaster.ac.uk\/fass\/projects\/cmda\/index.php\/wp-json\/wp\/v2\/comments?post=9999"}],"version-history":[{"count":80,"href":"https:\/\/www.lancaster.ac.uk\/fass\/projects\/cmda\/index.php\/wp-json\/wp\/v2\/pages\/9999\/revisions"}],"predecessor-version":[{"id":10020,"href":"https:\/\/www.lancaster.ac.uk\/fass\/projects\/cmda\/index.php\/wp-json\/wp\/v2\/pages\/9999\/revisions\/10020"}],"wp:attachment":[{"href":"https:\/\/www.lancaster.ac.uk\/fass\/projects\/cmda\/index.php\/wp-json\/wp\/v2\/media?parent=9999"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}