On the beginnings of cinema historiography: the architecture of a modern commercial activity
No. 17 (2015-07-01)Author(s)
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Andrés Ávila GómezArquitecto, Universidad de los Andes, Colombia. MSc en Urbanismo, Universidad Nacional de Colombia. MSc en Ciudad, Arquitectura y Patrimonio, Université Paris 7 Diderot & Ecole Nationale Supérieure d’Architecture, Paris-Val de Seine. Master (c) en Historia Cultural y Social de la Arquitectura y de las Formas Urbanas, Ecole Nationale Supérieure d’Architecture, Versailles. Doctor (c) en Historia del Arte, Université Paris 1 Panthéon-Sorbonne; Ecole Doctorale 441 Histoire de l’Art. andresavigom@gmail.com
Abstract
This article outlines a structured critical reflection of Ben Hall’s analysis in his The Best Remaining Seats. The Golden Age of the Movie Palace. When it was published in 1961, this article progressively provoked interest in commercial architecture. Its mutations foretold its own disappearance, in the ways that were known at that time: it was architecture for cinematographic exhibition. Beginning with the identification of the main historic elements that are suggested by Hall, this analysis seeks to establish some of the continuities or lack of continuities that they subsequently have in renowned researchers' written works on the ever-changing cinema architecture.
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