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Marquee survivals: a multimodal historiography of cinema's recycled spaces

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Marquee survivals: a multimodal historiography of cinema's recycled spaces

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Content : 0 MARQUEE SURVIVALS: A MULTI MODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES 8' v E:'( ·'.J I(,~ F'.:.,p EDES p ? ~ • - -- • • • ' • • \ ... ,_ . • • : 0 MARQUEE SURVIVALS: A MULTI MODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES _- · - · - P ? ~ - INTRODUCTION Title Page & Table of Co, ntents MARQlTEE SlJRVIV ALS: A. l\lllJL Til.\ilODA.L HISTORIOGRAPHY OF CINEl.\iIA'S RECYCLED SPA:CES by Veronica Paredes A . Dissertation Presented to the FAClTLTY OF T HE GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNL4. In Partial Fulfilln1ent of the Requfren1ents for the Degree DOCTOR OF PHILOSOPHY (CINEMATIC ARTS - ~1:EDL4. .ARTS + PRACTICE) Decen1ber 2015 Diss e1·tatio1 n Con11nittee. : Steve . Anderson (Chair) Cu11is Marez Tara lv1cPherson Laura Isabe] Serna Contents 1. Introduction, Sta1 1 2. Histories Concealed 3. Projecting 1943 4. Sense of Pachuca 5. Broad\•,ray as Backgrotu1d 6. Photo Essay: Marquee Stories 7. Prototypes 8. Portfolio Begin with "Introduction., Start" • Ii., Pe>wered by Sca lar I Terms e>f Service I Privacy F'olicy I Sca l a r Feedback - : 0 MARQUEE SURVIVALS: A MULTI MODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES _- . , , - - · : - P ? ~ TITLE PAGE & TABLE OF CONTENTS ( 1/8) Introduction, Start Introduction Throughout this project, I focus on the significance of everyday practices and the people of South Broad,vay, on ho\\' shoppers, inoviegoers and vendors inade sn1 aU but ilnportant contributions to the preservation of 1 novie theaters in Do, 0 V11to\\'n Los Angeles. The cinen1atic representation of the cro\• \ 1 ds that populate South Broad\vay, inside and outside itrs theaters, is a significant factor in ho,• v the street is iluagined. This project considers 1novi.e theater use, reuse and representation as a 111eans of expanding our understanding of cinen1a histories, en1 bracing \Vhat n1edia 11istoriography, Chicano/ a Studies, and urban practices can reveal about the entangled relationships cinen1a has not only '\ 1 ith other media for1ns, but also 'vith the social, econo1 nic, and cultural din1ensions of everyday H fe . • l'ul a n1ulti1nodal project, ll.1ARQUEE SUR. VIV ALS uses different discursive n1odes to create a coHection of audio-visual 111aterials that evoke di.e fragn1entary nature of the archive and tl1.e "eccentricity of the past." This approach assu1nes t11at there is intei]ectual value in the see111ingly unrelated or insignificant details of a research question " 'hose various in1plications can be productively eA'J)lored thro1~h inultirnodal forn1s of scholarship. As Steve Anderson has noted, "If 've are to speak n1eaningfuHy about the heterogeneity of the past, our rnethod 1nust be like"rise heterogeneous" (16). The project uses i111age and teA1:, video annotations and co111111entaries, video and photo essays, to evoke the ephen1eral conb:ibutions and overlooked presence of South Broadway's racialized audiences . . 1\1.ong the cun·ent Introduction path, ) ou 'vilJ. find 111ore context for South Broad\•.ray as this project 's key area of study, and a n1ore detailed description of " 'hat other paths contain . Conten ts 1. Introduction: South Broad'' ''ay 2. Introduction: Nostalgia I 3. Introduction: Nostalgia II 4. Introduction: Paths Description Begin with alntroduction: South Broadway" Continue to aHistories Concealed" • I., Powered by Scalar I Ter ms of Service I Privacy Policy I Scalar Feedback - - : 0 MARQUEE SURVIVALS: A MULTI MODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES C:: • .,..;:: :·r:·'J I•:.- F.:. ~·EC:~~ P ? i~ INTR ODUCTION, START (114) Introduction: South Br· oadway South Broad,vay in Do\\'nto\\'ll Los Angeles has survived .several eras of inedia tran.sfonnation. A£ the first historic theater district listed on the National Register of Historic Places in 1978, the street boasts the @ large.st concentration of historic rnovie theaters and palaces in the country. The hvelve surviving theaters \Vere preserved in large part due to th e business provided by Latino .shoppers and theatergoers. An era kno\vn as Broad,vay's "Latino Renaissance" began in the 1950s and lasted into the early i99os, '~·ith @ Frank Fou ce ("irnpre.sario of Spanish-language entertainn1enf') and the Metropolitan Cornpany, led by the Co1"\• vi.n fa1nily, ~ progran1n1in g Spanish-language fi.hns in 1nany of Soutl1 Broad\\ ay's tl1eaters during tliat ti111e .. After official designation as a district, city politicians began to oourt real-estate investors and developers they hoped \V ould fund arnbitious and costly restorations of the ren1air1ing 111ovie palaces and theaters on the street. For exa:inple, @ Ira Yellin, Ezat Delijani and even televangelist Gene Scott (explored in n1ore detail in "Histories Concealed") \\• ere approached by n1ayors or granted sizable tax incentives in order to invest Do\• vnto"111, \V hereas previously these finances 111ay have been directed toi.vard fru1ding developrnent on the Vv'estside or other parts of the city. Programming Inquiries r-.~.!ll'rlli!1'.11111Nd'»w.a4~t.o,mt~~'~ Ira Yellin's purchase of the 111illion Dolla.r Theatre, Ezat Delijianis' of the Los Angeles, Palace, State and To\ver Theaters, and Gene Scott's of the lT nited _A.rtists Theatre \\'ere part of a '"'ave of ~theater purchases in the mid to late 1980s. During tl1is ti1ne the Do\vntO\\'ll Managen1ent Cornpany, l1eaded by J o.seph Hellen, a]so purchased 1nany properties near Fifth and South Broad\vay, including the Roxie, Ca1neo, and Arcade Theatres, as ~\·ell as the Broad~vay Spring Arcade. For these property O\\'ners, navigating the district's historic designation '· ''ould prove con1plicated - 11*1t~"°"""'1,,......~ ~---"'-~~Ot~l'Ci~fti¥f4~ .. ~ ,,_,., P~r•mmirtg 40 EY.ftl ~ ,..op•rnm9ftgCon..,..• --· $~~ 6r1-4?1-t:sM -- ..__r-. -- 2,»17~MOOo ....... J:1..-1D111'. i;IPlll Lm~ "ib.Nka ...... .._ 21~ .2a]& ·--- ...... .._ 21 :J..6H. HJSi ·-- - ...... ~1~~ Cl-t>io r>ll! Pul!lJCI NOf RE1<fm ' OR E"11NU I OR ~r>ONLY .t.A C>o.IRa< Dlrilllt, p~ ~ Pv" 6tfli'M'l1'1Cl CCtfttM't. Tj'llt M~ ,,... tali l:.tOillM') 310-651~ 1.114 Gi:l!li Marin«~ Hilm 2l:M88· 1100 Greg Mani1'« McnMI ~ 21J.M8. l 100 ArolOI ThNlr• <illQ MArtR• a.td'WNI H<llln 213-688•1100 de' elop1uent \ Vas restricted in order to protect the district's historic features, 111aking costs to renovate prohibitive. s... ThNn Nol R.- f Nol°'*' to.,. f\.tik. Cuf'rofitj U:Mdl .... ~ vr....o MNti: ~O fl;I Rer-lOO ' N(lil '°' N ~ · t""""1· WNI ff;~ Bringing Ba· ck Broadway Property Managers Along 'vith ensuri1ig p rese1vation of the district's 111aterial structures, historic designation also sought to lend [egitirnac) to properly historic ente1tainn1ent inediurns and/ or rnoviegoing practices. The period of 111oviegoing that is ernphasized in the efforts to return the Broad\\'ay theaters to their "original" states is the 1920s. Bemg a decade of rapid econonlic gro\\1:h for the countiy and for cine1ua, the i92os sa"· a high nu1nber of openmg 1lights for 1notion picture theaters . • .6.5 Janna Jones observes in tbe case of the Southern rnovie palace, rnaterial preservation and opening nights are pO\\'erfuUy connec~ed, " GJ the only past that gets ren1ernbered at a rnovie palace is the san1e past that is rnaterially preserved - th e rather unproblen1atic opening night and the happy years that folilo\\•ed." Continue to "Introduction: Nostalgia I" • lit Powered by Scalar I Te rms of Service I Pri vacy Policy J Sc .;ilar Feedback c;>..-d EIJ s ...... ~ _,_ ~Daipinl ............. IET-1~~ -- -- -- -""""' .. :=: 0 MARQUEE SURVIVALS: A MULTIMODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES B' . '"O'llCA P. " REc'E' p ? R -- . • '\ - • INTRODUCTION, START (214) Introduction: Nostalgia I The i1npulse to\vard a synchronic e1 nphasis on 192os Broad\\•ay disregards all the intervening decades, skipping over nluch of the Great Depression, the Second V.T orld War and do\\111to\vn's ''\vhite flight." Furthennore, focusing on the period of the street's greatest popularity \vith \\'hite Angelenos, enables the quick disn1issal of the historic and current presence of black, Latino and inunigrant audiences do\\111to,vn. This notion of Broad\V a)?s past obscures the fact that sn1all side\valk and stall retail businesses serving a predonlinantly Latino clientele are now financially suffering and that Latino audiences long supported downtO\Vll ethnic theaters @ until 1952. A. return to 1920s Los Angeles on Broad\vay is i1npossible. Despite an inability to restore Broad\vay to a bygone historical era, prese1vationist i1npulses 1notivate city politicians and the Los Angeles Conse1vancy to focus on rescuing t11e 1naterial vestiges aligned \vitl1 the gla1norous 1920s era. Popular rhetoric around Broad\\•ay's past 1nirrors the nostalgic's " @ longing for a ho1ne that no longer exists or has never existed." how to loo c6mo fijarse Get ready to do a little detective work! Preparese para hacer un poco de trabajo From LA Conservancy's Kids' Guide to Bro.adway I Guia de la calle Broadway para nirios Every Saturday at 10:00 a.111., the @ Los Angeles Conse1vancy holds a \V alking tour of the Broad\vay Historic Theatre and Conunercial District. Groups of around ten participants 1 neet at a nlovie t11eater on one end ofBroad\vay and are t11en led on a three-hour \V alk by a docent to the district's east end, at Olyn1pic. Together, group inen1bers look up at t11e notable architecture of old buildings, along \vith t11eir e1npty upper-level floors. Or t11ey look do\Vll at exa1nples of ornate terrazzo entrances that visually interrupt side\valks inarked by blackened gun1 stains. Anned \vitl1 historical details about each building and a binder full of printed archival i1nages, t11e Conse1 vancy docent leads tourists not only t11rougl1 space, but also through ti1ne. Instructions for ho\v to look on a \\• alking tour, provided in the LA Conservancy's "@Kid's Guide to Broad\vay," suggest 1 nove1nents conunon to detectives that tourists are encouraged to i1nitate: "Look Up! Look Do\\'11!" "Look for Dates," "Look for Ghosts," and "Look \vith a Prese1vationist's Eyes." These con1n1ands reveal otu· fascination \V i th discovering t11e autl1entic details t11at connect the present to a lost past, coupled \V ith the question of ho\v to return inaterial structures to so1ne "fonner glo1y." Svetlana Bo)'ln describes this i1npulse as a fonn of restorative nostalgia, \vhich "@ does not think of itself as nostalgia, but rather as trutl1 and tradition." This approach to the past is inost concerned \vi th reconstructing it as '"hole and coherent. It is unfettered by inen1ories that stray fro1n this unity or t11at \vould frag1 nent the past. Ce1tain about histo1y's n1eaning, proponents of restoration " @propose to rebuild tlie lost hon1e and patch up the n1en1ory gaps." With exan1ples fron1 practical situations of restoration, Janna Jones points out ho\v a restorative sense is catered to by the hard \\'Ork of prese1vationists \\• ho "@ratl1er than uncovering the past ... create an illusion of a credible n1aterial past." These illusions function differently in a n1ovie palace than in a n1useun1 because the fonner is constrained by its need to function effectively in the present as a business. (( Continue to "Introduction: Nostalgia II" - = - : 0 MARQUEE SURVIVALS: A MULTI MODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES 8' "iE:'C·~ ICA F ·.:..r; E C1ES P ? i~ I TRODUCTlON, START (3/4) Introduction: Nostalgia II Ho\\ 1 ever, n1ovie palaces also resonate \\r:ith the public on a syn1bolic level. Nu111erous photography books docu1nent the trajectory of 1110\r:ie theaters through various states of use, abandonrnent, restoration and deinolition . . Early on, the literature v,;as represented by books like Ben 11. Hall's The Best Re111ai11i11g Seats (1961) and David Naylor's Anien'.ca11 Picture Palaces (1981) and1'W"ovie Palaces (1988), whicl1 focused on the beauty of still-functioning 111ovie palaces, invoking a pre->vhite flight , golden age of 111oviegoing. According to the do1ninant nan·ative, this ,,·as before \vhite residents began retreating to the subtU"bs, v1.rhere every house is equipped 'i\• ith a television set. Published n1ore recently Silent Screens (2000) self-consciously chronicles theaters after this n101nent, lmJ presenting the111 in n1i.1IS or configured for ~unexpected ne\\' uses. In his introduction l'o the book, photographer Michael Putna1n describes dilapidated rnovie theaters as "en1bodin1ents of the death of the Alnerican to'l'.'ll" (96). Conflating the 111ovie theater \\·ith the character and vitality of the n1id-t\ventieth century Alnerican city, Putna.111 e1nphasizes cine1na's syinbolic level as he anthropon1orphizes its 1natelial structure. These i111ages connect theaters to one another, creating a neuvork tllat is not based on the contei11pora1y circulation of 111edia, but rather on syn1bolic circuits of a bygone era. Putnan1situates111ovie tlieaters v ;ithin a national 11a1Tative of 111edia change, but in so doing, sacrifices the theaters' specific local context and history. Still, the vision is co111pelling and many photographers and ,, ,Titers share Putnan1's fascination v.Tith the 111elancholic in1plications of tlie fallen n1ovie theater. For exan1ple, Jl..1att Lani bros Silent Screens, p 44 Silent Screens, p 75 frequently updates his \\'ebsite .4.fter the Final C11rtain w1th "@ photographic obituaries" fro1n around tl1e country. A con1p]e1nenta1y hnpulse characterizes projects that profile restorations, inspiring reverence at the handi•'l"ork of the craftsmanship of earlier eras, "''hile concealing the hard \\• ork put in by preservationists to create an illusion that makes the present i1nperceptible. The nostalgic i111pulses of the carefully curated portraits of 1uovie palace decadence and decay that individual book projects or artist \Vebsites provide are also found in the efforts of city organizers and officials. City counciln1en1ber Jose Huizar launched ~Bringing Back Broad,vay, a "ten year vision," in January 2008. The initiative pro1nised to "~revitalize the corridor, acti\•ate the theaters" and usher in a streetcai· systen1. Restorative nostalgia characterizes the visual rhetoric that the initiative's ca1npaign used to convince the voting residents of Do\\.'llto\vu Los Angeles of \ovhat the street could (or did) look like. This is in great cont:I:ast to \V l1at it looks like novv, and has looked like for the past fo1ty years or so. What sense of place is Bringing Back Broad\',•ay atte1npting to preserve? Its projections oftheA. n1erican drean1 of a "real do\.\'nto,~n" are i:neant to replace the 'en1acular streetscapes and econon1i.es that once thrived in -- . - - • conte1nporary circulation of 1nedia, but rather on S)'lnbolic circuits of a bygone era. Putna1n situates n1ovie theaters \Vi thin a national narrative of n1edia change, but in so doing, sacrifices the theaters' specific local context and history. Still, the vision is con1pelling and 1nany photographers and \Vl"iters share Putnan1's fascination \Vith the n1elancholic in1plications of the fallen 1novie theater. For exan1ple, l\1att Lan1bros Silent Screens, p 75 frequently updates his \vebsiteAfter the Final Curtain \vith "@ photographic obituaries" fro1n around the count1y. A con1plen1enta1y in1pulse characterizes projects that profile restorations, inspi11ng reverence at the handi\\ 1 ork of the craftsn1anship of earlier eras, \vhile concealing the hard \Vork put in by preservationists to create an illusion that n1akes the present i111perceptible . The nostalgic in1pulses of the carefully curated portraits of n1ovie palace decadence and decay that individual book projects or a1tist \vebsites provide are also found in the efforts of city organizers and officials. City counciln1e1nber Jose Huizar launched ~B11nging Back Broad\vay, a "ten year vision," in Janua1y 2008. The initiative pro111ised to " @ revitalize the con "idor, activate the tl1eaters" and usher in a streetcar systen1. Restorative nostalgia characte11zes the visual rhetoric that the initiative's ca111paign used to convince the voting residents of Do\VlltO\Vll Los Angeles of "'hat the street could (or did) look like. This is in great contrast to \vhat it looks like no\v, and has looked like for the past fo1ty years or so. What sense of place is B11nging Back Broad\vay atte1npting to preserve? Its projections of the An1er1can drea111 of a "real do\V11to\v 11" are 1neant to replace the vernacular streetscapes and econo1nies that once thrived in Do\vntow ·n Los Angeles, and in so doing preserved the city's structures fro111 the beginning of the nventieth centu1y to the present. Bringing Back Broadway logo (2008) In The Future of1Vostalgia, Svetlana Boyn1 conceives of reflective nostalgia as an antidote to the zealousness that pervades restorative nostalgia's yearning for "truth and tradition." "@ Instead of recreation of tl1e lost hon1e, reflective nostalgia can foster a creative self ... Nostalgia can be both a social disease and a creative en1otion, a poison and a cure." The drea1ns of i111agined ho111elands cannot and should not con1e to life. Instead of squeezing diverse 111e1nories into a single plot, this va11ation on the sentin1ent "@ d\vells on tile an1bivale.nces of hu111an longing and belonging." Boy111 describes reflective nostalgia as open to the contradictions of n1odernity, including ho\v " @ it loves details, not syinbols." The Saturday n1orning conservancy totu· 111en1bers introduced earlier also deligllt in the n1inutiae of Broad\vay's histo1y, but their concept of the past's true in1age is seldo1n threatened by \V hat is discovered .• 0. narrative of rise, fall and decline ren1ains intact, along \vitl1 a preference for a classical era and a persistent need to return to it fron1 the present. Rather than containing details into a predetennined narrative or destination, a cr1tical nostalgia can uncover the potential latent in overlooked details of neglected infrastn1ctures, forgotten places or 1ninor net\\ 1 orks. « Continue to "Introduction: Paths Description" • It Powered by S cal;ir I Terms of Service I Privacy Policy I S calar Feedba ck - = - : 0 MARQUEE SURVIVALS: A MULTI MODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES : · :- ·> .1. - " - -- : ~ ~ - P ? ~ - INTRODUCTION, START (4/4} Introduction: Paths Description L . IST OI F : PATHS Hist o1i es Co11cealed explores a Broad'tvay 111ovie palace located :in the '1\ 7 ashington Heights neighborhood of Manhattan, a far j ou:n1ey fi·on1 Sou th Broad'ova) in Los ~l\ngeles . A inovie palace tu111ed church, the bu:ilding fonner!y krlo\Vll as the Loe'~"s 175th Street Theatre has been 0"1J1ed and 111anaged by B]acl{ televangel:ist Reverend Ike's Un:ited Christian Evangelistic.l\ssociation congregation for the past 45 years. This section provides a broader context through \Vhich to understand Los .l\ngeles' South Broad'''ay inovie theaters, as similar questions about proper use, race, place and space inforn1 the historical develop111ent of Rev. Il{e's United Palace Cathedral. vVhile "Histories Concealed" addresses the 1naterial and discursive repurposin,g of (fon:ner) filn1 exh:ibition spaces, Projecting 1943: Pachuco Goes to the Movies considers ho'lv 1novi e theaters recur cis spaces of vio1ence in accounts of one specific five -day period in h:isto1y. ?.-tovi11g beyond conventional representations of the so-called Zoot Suit Riots, this chapter suggests pay:ing attention to ho'v and 'vhen inovie theaters are vis:ible in the background of the attacks launched on "zoot suiters," .,~·h:ich becan1e coded as Black or Mexican An1erican, across th e countly in June 1943. The concept of the "ejected spectator" is used to :identify the repetition of the act of ren1oval fron1 the n1ovie theater during the attacks, relating the racialized violence of the . Zoot Suit Riots to discourses about d11en1atic spectatorship. Sense ofPacbnca is co111posed of sbo1t video essays tl1at consider ho>v the figure of the "pac- huca" is represented :in three fihns about Mexican An1e1icans liv:ing in Los Angeles. Inspired by Kara Keel:ing's pursuit of the "black fen1111e" in the cinematic and Rosa Linda Fregoso's 'vork on the entangled relationships of representation and reception in building diverse nleXicana histories these videos point to instances that demonstrate ho>'>' the "pocha" (i11 the case of Me_ i.ico de n1i corazon) and pachuca are "produced \ ">":ithin the ve1y structures she n1ight challenge" (Keel:ing 144) . More tenuously l:inked i\ritl1 representations of iuovie theaters than others, this section hints at hov .. , fibns can affect and reflect everyday conunon sense about identity and histo1y. Addressing the connect:ions betvveen physical space and ci11e1natic representat:ion 111ore directly, Broad'"''ay as Background analyzes depictions of South Broad\\ray in fihns according to the follo\v:ing then1es: "lVIexico lindo y querido," "Invisibility/ Hypervis:ibility," and "Everyday." Each v vith a dedicated sub.section con1prised of linage and video galleries, these then1ed studies consider ho'''' the street is portrayed differently depending on the artists or i11dust1ies producing the \V ork, and as the intend. ed audience varies. The fihn scenes featured in "Mexico Undo y querido" present South Broad,vay as a place for diasporic belonging for Mexican inunigrants .. Scenes excerpted in "Invisibility/ Hypervisibility" are fi·o1n Holly>\'ood fihns tl'i.at alternate betv·,• een portraying the people on South B1'oad\vay as passive, no n1ore than background set dressing, and as caricatures, perfor111ing broad stereotypes as the c1in1inal "other." F:inally, "Everyday" considers vie,v point.s presented by Chicano/ a artists that counter the pathologizing and erasing of 11:exican and Mexican Alnerican identity on the street in inainstrean1 po1trayals. Together, these clusters survey ho1v fihn in1ages uphold nationalist or racist ideas about South Broad\\ 1 ay's aud:iences, or suggest ne\¥ ,,,,·ay.s of docun1enting tll.e everyday. "Marqt1ee Stories" is a photo essay that explores the '· vays h:istory is inediated in the cultural i11e1nories of people 'l\ 1 ho have " '01·ked on South Broad'\ ay over the past 30 }ears and are 110\v adapting to the street's recent transfonnation. It also presents a counter archival vie\'\' of the location, e1nphasizing the in1portance of people over the n1ovie palaces. ... ............................................................................. & Addressing the connections beDNeen physical space aind cine1natic representation inore direcfly, Broad,'\.'ay as Background analyzes depictions of South Broad\\r ay in fihns according to the follo\ving then1es: "l\ilexico lindo y querido," "Invisibility/ Hypervisibilit:y," and "Eve1y day." Each \\• ith a dedicated subsection con1prised of i.J.nage and video galleries, these then1ed studies consider ho~\' the street is portrayed differently depending on the artists or industries producing the \Vork, and as the intended audience varies. The fih11 scenes featured in "Mexico li.ndo y querido" present South Broad,vaiy as a place !or diasporic belonging for Mexican i.nm1igrants .. Scenes excerpted in "Invisibility/ Hypervisibility" are fron1 Hollyvv ood fihns that alternate beh'.• een portraying the people on South Broad\vay as passive, no 111ore than background set dress1ng, and as caricatures, perfor1ning broad stereotypes as the crin1 inal "other." Finally, "Everyday" considers vie\\J>oints presented by Chicano/ a a1tists that c.ounter the pathologizing and erasing of Ivlexican and i.\'le>..'i.can Alnerican identity on the street in inainstrean1 po1trayals. Together, these clusters survey ho,.,T fihn ilnages uphold nationalist or racist ideas about Sout11 Broadv•:a;' s audiences, or s1~gest ne>\' '~·ays of docun1enting the everyday. " 1\farqt1ee Stories" is a photo essay that explores the vvays histo1y is 111ediated in tl1e cul rural 111en1ories of people '\'ho have \Vorked on South Broad\\ray over the past 30 years and are no\v adapting to the street's recent tra11sforn1ation. It also presents a counter archival viev.r of the location, e1nphasizing the i111portance of people over the n1ovie palaces. Supplen1e11tal explorations and potential future directions for the project a.re presented in the Prototypes section . . A prelianinary experin1ent \vith the HTML5 inedia fran1e~vork, popcorn.js, de1nonstrates that video annotation bas been an al'ea of interest si11ce the project's beginnings. The "Sen1antic Video Re1nix" prototype features a video trailer inade early on in the proj. ect, den1onstrating ho'v the steps of disse1tation inapping and planning for a n1ultin1odal dissertation 111ay differ fro1111nore traditionally 111anifested dissertation projects. The u Aug111e11ted Reality Rituals" prototype shovvs ho\v lo\v-tech iterations of technologicaUy influenced project ideas can be beneficial "for considering the perfonnative . and bodily aspects of 11ne>..'Pectedly technological acts. Reading Marquee Survivals: A Multimodal Historiography of Cinema's Recycle. d Spaces This '"''ork can be explored by follo~•ing the linear path that connects one section to the other, Histories Concealed -·> Projectin g 1943 --> Sense of Pacbuca --> Broad\vay as Background - > Prototypes. You can also foUo\v any path of your choosing, connecting fi.·0111 one node to another, led by the111es, tags, video or in1 age assets. For 111ore infonnation on ho,, v to read a Scalar book, you can consult the Scalar Guide. You can continue on this linear path by follo~ving tl1e links at the botto1n left corner of tb.e page .. « Back to "Introduction: Nostalgia II" • lit Powered by Scalar I Te rms of Service I Privacy Policy I Scalar Feedback : 0 MARQIJEESURVIVALS:AMIULTIMODALHISTORIOGRAPHYOFCINEMA'SRECYCLEOSPACES L''vE:·i: · \J l ·~~.F.'..G' E[·~: P ? ~ HISTORIES CONCEALED (1111) 1 united Palace Cathedra "Gaudy," "ostentatious," "too 1nuch," "fia111boyant," "a joke" - these \\'ords \Vere frequently used to deride ~Reverend Frederick J. Eikerenkoetter 11, a Black televangelist popular in the 1970s. Historically, theyv»ere also lfil used in architecture circles to de,scribe n1ovie pa]aoes that p roliferated across the Ainerican landscape during the 1920s. Despite the continuation of the theological principles that Eikerenkoetter (better kno"'ll as Rev. Ike) pro111oted throughout his career - \V hich combine positive thinking and prosperity theology to for1n · what he coined "Science of Living" and rese111ble the teachings of conte111porar) televangelists - he is rnostly forgotten today. On the other hand, e.'\'tl·avagant n1ovi:e palaces that have \\ithstood the passage of tin1e have experienced various resurgences and revivals. Outliving the ridicule fonnerly cast at then1 for their artificiality, they have attained historical status as, at lea.st since the l97os, theater preservatiouist groups have n1obilized support to save the structures nation\vide. Forging an unex'})ected sy111biotic relationship, for 111ore than forty years televangelisn1 and the n1ovie palace have sustained one another in tl1e structure of Rev. Ike's cburcl1, the United Palace Cathedral. Rev. like Preaching. Arm Outstretchecl and Holding Microphone Rev. Ike, Seni9r Minister. invites you to Healing an(I Bressing Meetings every Sunday at 2:45 pm, United Church Ce11ter. 4140 Broadway at 175th SL, New York City. Ongoing seminars and edL1ca!ional classes; Drug and Alcohol Rehabilitation Programs, and deliverance programs. A fL,Jll service Cht.1rch oflering Ministry to lhe ; needs of all people regardless of age, race or reli:gion1 . Miracles Right Now! (p:ige 11] Rev. Ike purchased Loevl s 175th Street Theatre in 1969 for half a nrillion dollars, and the theater \\• as reborn as the United Palace Cathedral. It becan1e the sy1nbolic center of his religious net\vork, l T nited Christian E\angelistic Association. ~The physical building is the size of a city block, bordered by 176th Street on the North, 'I\ adsv>'o1th li.\'enue on the East,, i 75th Street on the South, and finally, Broadv 11ay on the West. United Palace Cathedral '.\'as not the first forn1er n1ovie tl1eater Rev. Ike's: churcl1 took over. After 1110\ing to Ne\\' York frorn Boston,, '.vhere the church's financial headquarters ren1ained throughout the evangelisfs career, Rev. Ike n1oved into a dilapidated 111ovie theater iu Hade111, for1 nerly the Sunset Theatre. It "vas at that tin1e that he abbreviated his na1ne to Rev. Ike so th at it could fit onto the theater's 1 narquee, \V hich succ. inctly read: Rev. Ike Every Sunday. Continueto "Transfon:nationn • lit Powered by Scalar I Term~ of Se rvice I Privacy Policy I Se<ilar Fe~back : 0 MARQIJEESURVIVALS:AMIULTIMODALHISTORIOGRAPHYOFCINEMA'SRECYCLEOSPACES ='''i[c·r:·~l ·:l'.F.:..s· Ec1~~ P ? ~ f -HSTORIES CONCEALED (2111) Transformation Renovations souglit to retain, and heighten the opulence of the building's original design. The theater's original "i.Vonder" Mo11on pipe organ 'vas @restored; gold-plated ornamentation and c1 ystal chandeliers \Vere added to the @interior. A .ccording to United Church's \¥ebsite, "authentic Louis 1'..'V and A.'VI furnishings" were also added to enhance the building's ~elegance . Red carpet ;vas instaUed. Posters, featuring portraits of Rev. Ike alongside farnous lines f:ron1 his sennons, and acco1npanying altars \\•ere added to the theater lobby. The fa1nous lines include:~ "I an1 NOT other people's opinions" and "~ \\7ben you discover \V ho you are, i.t doesn't matter v ,rhat you've been." The outer inarquee 11\"as used to advertise the starting ti111e of Sunday services {2:45pn1) ..,vhile the inner 1narquee read: "~Co1ne on in or s111i1e as you pass." A 111ajor change n1ade to the building's e"i:erior "·as the addition of a ~prayer to\\'er on the 176tl1 Street side, designed to be ..,vide]y ~ visib1e. ' • \7liile the to\\'er is pri1narily ad ertised as a sanctuary for pra) er its design also empl1asizes the importance of broadcasting to a larger public. lts sinlilarity to a radio to\ver provides a visual ren1inder of Re'. Ike's a1nbitions to reach not only the surrounding neighborhoods, but also a 1nuch ..,vider audience through broadcast 111edia. The addition of the prayer to\ver \V as a key ele1nent in the historic n1ovie theater's n1aterial conversion into a proto-111egachurch. V1/hile Reverend Ike's congregation 111aNed out at @ 5 ooo n1en1bers in the pl1ysical space of the L nited Palace Cathedral, it nun1bered as high as an estin1ated 2.5 iniUion ren1ote listeners and vi.e\vers at the height of Rev. Ike's popularity. United Church broadcasted Rev. Ike's progra111 " !Bl The J oy of Lh·ing" to around @ 1,770 radio stations across the nation and ten inajor television 111arkets. As (filJonathan i'\< a1 ton notes, "Rev. lke \V as one of the first African A111erican.s to use an a1nphitheater as a place of worship, build an in-house video :production center, illld package and distribute his teachings i:o a nationa1 audience Yia te1evision and radio." Rev. Ike's "@[nediated congregation," to use Erica Robles Anderson's tenn, played a large pa11 in the sustained J'lenovations and n1aintenauce of the United. Pa]ace Cathedral.. 'The generous financial support of this coUective in-person, television and radio audience appears to have n1itigated the l1igh costs of preserving a laTge structure such as the nited Palace. The great expense involved illustrates a neglected detail about the 111ovie palace legacy. Robert Sklar explains, "~the shocking fact, so disruptive of the 1nyth that no Rev. Ike Quntes at Unrted P~ !~ce Cathedral ln.ner Marquee of United Palace Pr,;,yer TowerVisiblefrom Ground Level e1npl1asizes the importance of broadcasting l:o a larger public. lts siniilMityto a radio to\ver provides a visual ren1inder of Rev. Ike's a1nbitions to reach not only the surrounding neighborhoods, but also a n1uch 'vider audience through broadcast n1edia .. The addition of the prayer to,ver \'Vas a key ele1nent in the historic inovie theater's n1aterial conversion into a proto-1 11egachurch. \>Vlule Reverend Ike's congregation inaxed out at @ 5 ooo n1e111bers in the physical space of the l nited Palace Cathedral, it nurnbered as high as an estin1ated 2.5 inillion re111ote listeners and vie\\'ers at the height of Rev. Ike's popularity. United Church broadcasted Rev. Ike's progra111 " @!The J oy ofLi\!ing" to around @ 1,770 radio stations across the nation and ten inajor tele\ision n1arkets. As ~Jonathan ''\T alton notes, «Rev. Ike \\as one of the first African Arnericans to use an arnphitheater as a place of Y\• orship, build an in-house video production center, and package and distribute his teachings to a national audience \ ia television and radio." Rev. Ike's " @ n1ediated congregation," to use Erica Robles Anderson's tern1, pla) ed a large part in the sustained renovations and n1aintenance of the United Palace Cathedral.. The generous financial support of this collective in-person, television and radio audience appears to have initigated the high costs of preserving a large structure such as t11e nited Palace. TI1e great expense involved illustrates a neglected detail about the n1ovie palace legacy. Robert Skllar explains, "~the shocking fact, so disruptive of the 111yth that no historian of the n1ovies see111s ever to have uttered it. .. picture palaces 'vere econo111ic \Vhite elephants." Ron1anticizing the heyday of cinen1agoi11g overshado\'>'S the con1111ercial realities that shaped ho'v 1novie palaces v~·ere actually used in the past. Reverend Il{e, and other evangelists like hin1, \V as able to successfully preserve a n1ovie palace, in part, because of the a1nple donations fron1 hi.s devoted, distributed audience. (( Continue to "Movie-Palace--Turned-Church and Race" • P<Jwered by Scalar I Terms of Service I Privacy Policy I Scalar Feedback Inner Marquee of United P;il;ice Prayer Tower Visible from Ground Level "Don't followyourfeelings; tell your feelings how to feel , and make yoor feel ings fo llow YOU !''. teaches Rev. Ike. Soun:e: YouTube : 0 MARQUEESURVIVALS:AMIULTJMODALHISTORIOGRAPHYOFCINEMA'SRECVCLEOSPACES '' 1.'t:'·1:·~11·:~ F:..;· Ec·~: p ? R f-ilSTORIES CONCEALW (3/11) Movie-P. ala 1 ce-Turned-Church and R. ace Amongst the various configurations of n1ovie theater reuse, the n1ovie palace-turned-church perforn1s a note\',r orthy fonn of preservation. ~IateriaUy, the t:ransfon11ation frequently leads to exen1 plary preservation of the structure's interior, as 1nininial 1nodifications are necessary to the theater auditoriu1n, \\ith velour seats replacing the pe>'is parishioners are ~ accusto1ned to occupy1ng. Symbolical1) , tli.e co1nersion raises n1any questions about n1ediu1n specificity. Can the building's conversion to a church be n1aintained alongside a preser\ ation of its discursi e and n1ate1ial past as a ino\ie theater? vVill its religious reuse threaten the building's relevance to the field of cine1na studies? I propose tl1at an in1portant aspect of tl1e 111ovie palace-tun1ed-church is precisely its potential to push cinen1a histo1y and ftln1 studies to ask questions about tl1e structure's intern1edial state. Ratlier than focusing 011 filn1 he1itage, '\'e c.an place tl1e sb:u cture iI1 a \\rider field of il1quiry, n1edia studies 'vhicl1 raises the follo,-.ring question: Ho'!.\' has this identity functioned alongside the signification of (cinen1atic) opulence? V11hi1e popular opinion about inovie palaces' lavish designs has shifted to,vard the n1ore favorable over ti1ne, tl1e repurposing of 1novie palaces as 1negachurches ren1ains a contested inatter. ~Theater preseivation groups, for one, predictably privilege f1h11 {or at the very least, live perforn1ance) as the ideal programming for inovie palaces. For fihn enthusiasts, the discrete sites of cinerna's earlier infrastructure continue to connect together as nodes in the history of cine1na exhibition, even as they inust find ne~v applications in a "post-cine1na" era. Instead ofla1nenting the loss of n1ovie palaces that no longer shov.· filins or host perfor1nances, this project considers repurposed 1novie palaces as laboratories for exan1ining the relationship bet\veen media histo1i ography, circulation and place. Developing tl1is n1etl1odology involves borro\\ing fro1n ne'''' cine1na hist:ory and nern• ork arc11aeology to think through racia1ized uses of space, in order to forge connections between 1the racial dhnensions of n1edia history and the uses/ reuses of n1ovie theaters. The sophisticated 1~111edia empire tl1at ~Rev. Ike developed al: the United Palace Catl1edral challenges sin1plistic understandings of tl1e dichotorny beh\'een the "glory days" of classical filn1 · exhibition and the supposedly ungla1norous, unsee111ly use of n1ovie palaces during periods of urban decline. This separation also contains a racial dimension. For inovie palaces, tl1e fonner period is historically associated v'l'itl1 urban ~vhite nliddle-class audiences, \\• hile the latter is linked \'>'ith Black and Latino groups \\!hose access to luxurious city spaces during the later twentieth century is perceived to be facilitated by, and dependent on, '\vhite Cover of Miracles Right Now' Rev. Ike C. elebrates 50 years! .. his Qo./den llPWUAt.CE:Yv..i!.U"' ~ in Ministry T-~ Age 30"• Age 40 '.s A!JeSO's,aod~. "Y ou've Come a Long Way, Baby!" Rather than focusing on fihn heritage, \Ve can p lace the structtn·e iI1 a '~ider field of inquiI-y, n1edia stt1dies, v.r llich raises the follo\ving question: HO\\. has this identity functioned alongside the signification of ( ciilematic) opulence? \\'hile popular opinion about mo>ie palaces' la\.ish designs has shifted to\\ard the more fa\·orable over time, the repurposing of movie palaces as megachurches remains a contested matter. @Theater preservation groups, for one, predictably pmilege film (or at the ,·ery least, lh·e performance) as the ideal programnung for mo,ie palaces. For film enthusiasts, the discrete sites of cinema's earlier infrastructure continue to connect together as nodes in the histo1y of cine1na exhibition, even as they must find ne\\ ' applications in a "post-cinema" era. Instead of lamenting the loss of 1110\.ie palaces that no longer sho\\' fillns or host pe1formances, this project considers repurposed 1uovie palaces as laboratories for exan1ining the relationship benveen 111edia historiography, circulation and place. Developing this 1nethodology involves botTO\\ing fro1n ne'v cinen1a history and nehvork archaeology to think through racialized uses of space, in order to forge connections ben,·een the racial din1ensions of media lustory and the uses/ reuses of 1110\.ie theaters. The sophisticated = media empire that Rev. Ike de,·eloped at the United Palace Cathedral challenges simplistic understandings of the dichotomy ben,·een the "glory days• of classical film exhibition and the supposedly unglamorous, unseemly use of mo\.ie palaces during periods of urban decline. This separation also contains a racial dimension. For nlo\ie palaces. the former period is historically associated \\ith urban \\nite nliddle-class audiences, "·lllle the latter is linked \\ith Black and Latino groups "·hose access to luxurious city spaces during the later h\·entieth century is perceived to be facilitated by, and dependent on, ""·hite flight" fro1n American urban centers. Pri1narily supported by donations fro1n Black parishioners, Cover ot Mi~cles Right Now! Rev. Ike Celebrates 50 years! -his q~ An#U~ in Ministry T..._Preadlor Age 30"s Age 40.. Age50's. Mdbe\IOnd-. "You've Come a Long Way, Baby!" Rev Ike over 50years {Mirxles Right Now!) Rev. Ike's United Evangelistic Clu·istian Association 'vas ve1y gla1norous and delivered ell.1:ravagance to Atnerican households via \veekly television broadcasts. TI1e case of Rev. Ike and his ch tu-ch challenges the do1ninance of film heritage in contempora1y understandings of repurposed 111ovie palaces, \Vhich not only privilege cinen1a but also presume \\"hiteness in shaping 1 nedia history and imagining its audiences. Continue to "To'vard Post Cinema History" • • Powered by Sc.tar I T erms of Service I Privacy Policy Scalar Feedback ; 0 MARQUEE SURVIVALS: A MULTI MODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES ' "c ·r~· ·! ·=• ~ -~. E _ ~ : P ? R HISTORIES CONCEALED (4/11t Toward P· ost Cinema History To connect repurposed iuovie theaters to n1edia histories beyond f'ilil1 heritage, I turn to the emerging scholarl) fields of Ile\\' cinema history and net-.vork archaeology. Precursor to ne"'' cine111a history, cfilne'" filn1 histoiy challenged teleological narratives of cinema's fon11S by focusing on the intern1edial links the histo1y of cinema had to other media for1ns, and ho1rv econon1ic and industrial factors infl.uenoed the suc.oess of no\\ ubiquitous (and a1n1ost invisible in their don1inance) popular filn1 furms. Nev{ cinen1a history is a developing field influenoed by this revisionist spirit. Instead of focusing prirnarily on archival research that stresses inten:nedial connections and/or financial entanglements of filn1, bo11vever, ne\\ T cinen1a history aims to build original archives based on the vernacular e:\'J)eriences of moviegoing. Ne · cine111a history further distinguishes itself fron1 conventional fihn history b) tun1ing to,vard the social and spatial din1ensions of cinema. Traditional inethods of filn1 studies pay " cfil close attention to the for111al and ideological properties of fil111 as a signifying system" by focusing on distinc: t film te.ll."ts, perfor1ners. studios, exl1ibitors or directors. Ne\'\ cinerna history, by contrast, decenters the content of filn1s. It ~ "attempt[ s] to WTite cine111a fron1 belo\\'," applying en1pirical iuethods 1nore co1n1non in the broader field of media studies than in film studies. It focuses on the circulation consun1ption and experience of 111oviegoing in order to obsen'e cinema as a site of @"social and cultural exchange." Although ne;v cinen1a history contains e.len1ents that are helpful for considering a post-cineJ.natic space like Re\'. fke's church, its e.n1phasis. on e1npirical research often elides the broader social and cultural histories associated -..vith cinematic spaces. _.\dditionally, its focus on the period of cine111atic exhibition leaves unexplored the post-cinen1atic uses of inovie theaters. One exception to these linlitations is ~Janna Jones's ethnographic research on the preservation activities associated with Southern movie palaces. She explores ho"'' preservationist groups must choose to wrestle \Vith or blatantly ignore racial segregation in their theaters' pasts. Jones asserts that preserving the discursive history by engaging the UI1co1nfortable aspects of a theater's cultural past is i111perative to "foster[ing] conm1unity connectedness." She argues that th:is can be achieved by linking inovie palaces to the broader cu] rural histories of SouilieTn downto\vns and the _4.Jne1ican city. Jones' \Vork deni.onstrates the i111portance of being attentive to hff•N regional media and cultural neti,.\'orks intersect vith cinen1atic infrastructures. "@ Treat[ing] the past as a net\\'ork," as Alan Liu notes, encourages us to look beyond the l1istory as it has been officially recorded to the n1arginal '!Vays it \'ras documented through ephemeral radio or teleYision broadcasts, church ne,vsletters, etc. Focusing on the pasts and presents of net:\vorks is also pren1ised on the advance1nents niade by media archaeology. Media archaeo1 ogical n1ethods free filn1 scholars from inflexible notions of the 111ediu1n by encouraging us to trace Cfil "forking paths of possibility," to discover alternatiye pasts and different pote11tial futures. @Thon1as Elsaesser notes that our encounter vvith a post-cinematic digital futUI"e makes us n1ore open to alternative histories of early cinen1a that go beyond a fi.xation on inedium specificity, \\111ile Elsaesser counteracts traditional notions of medium specificity \vi.th his fonuulation of "film history as n1edia archaeology, ;, we can eA.1:end the inetaphor to arrive at "(post) cinen1a histoiy as nehvork archaeology." One '.Vay to challenge hegen1011ic understandings of cine111a is to consider ho~,- cinerna's infrastructures act as nodes in the nenvorked histories of other inedia. Ey considering ho, .. .'forn1er cine1na palaces are used as past and. present p laces of broadcast media, and therefore nodes in the history of both cinematic and broadcast iuedia, \\'e can gain insight into cine1na's intennedial relationships to other 1nedia histories and the net-..vorks of cultural, religious and racial pasts that they rnay include. This understanding of (post) cinen1a history, attentive to the racial and intennedia1 dll11ensions of the inovie palace-turned-church, can heJp us to understand the significance of the multi-layered, mediated history of United Palace Cathedral. conunon in the broader field of n1edia studies than in filn1 studies. It focuses on the circulation, consumption and e,'1.-perience of n10'.-iegoing in order to observe cine1na as a site of @"social and cultural e,'{change." Although ne\v cinen1a histo1y contains ele1nents that are helpful for considering a post-cine1natic space like Rev. Ike's church, its e1nphasis on e1npirical research often elides the broader social and cultural histories associated \vith cinematic spaces. -~dditionally, its focus on the period of cinen1atic exhibition leaves unexplored the post-cine111atic uses of n1ovie tl1eaters. One exception to these lin1itations is @ Janna Jones's ethnographic research on the preservation activities associated \vith Soutl1ern n1ovie palaces. She explores ho\v preservationist groups n1t1St choose to \Vrestle lvith or blatantly ignore racial segregation in their theaters' pasts. Jones asserts tl1at preserving the discursive history by engaging tl1e uncomfortable aspects of a theater's cultural past is i111perative to "foster[ing] conununity connectedness." She argues that this can be achieved by linking 1novie palaces to the broader cultural histories of Southern dolvnto\vns and the .~1erican city. Jones' \\'Ork den1onstrates the in1portance of being attentive to holv regional media and cultural netlvorks intersect lvith cine1natic infrastructures. "@1reat[ing] the past as a neh\'ork," as Alan Liu notes, encourages us to look beyond the history as it has been officially recorded to the marginal lvays it \Vas docun1ented through ephen1eral radio or television broadcasts, church ne\vsletters, etc. Focusing on the pasts and presents of netlvorks is also pre1nised on tl1e advance1nents made by media archaeology. Media archaeological 1nethods free filn1 scholars from inflexible notions of tlle mediun1 by encouraging us to trace @ "forking paths of possibility," to discover alternative pasts and different potential futtn-es. @ Tho1 nas Elsaesser notes that otn- encounter lvith a post-cine1natic digital future n1akes us n1ore open to alternative histories of early cinen1a that go beyond a fixation on n1edium specificity. While Elsaesser counteracts traditional notions of 1nediu111 specificity lvith his forn1ulation of "fihn histo1y as 1nedia archaeology," we can extend tl1e n1etaphor to arrive at "(post) cine1na histo1y as nehvork archaeology." One \V ay to challenge hege1nonic understandings of cinen1a is to consider ho\\' cine1na's infrastructures act as nodes in tl1e neh\•orked histories of other media. By considering ho''' former cine1na palaces are used as past and present places of broadcast media, and therefore nodes in the history of both cine1natic and broadcast n1edia, \V e can gain insight into cine1na's intennedial relationships to other inedia histories and the netlvorks of cultural, religious and racial pasts tl1at they may include. This understanding of (post) cinema history , attentive to the racial and intennedial dilnensions of the n1ovie palace-turned-church, can help us to understand the significance of tl1e 1nulti-layered, 1nediated history of United Palace Cathedral. In b1inging ne\\' cine1na history and net\vork archaeology together, it is in1portant to integrate race as an analytic in considering ho\v space and place influence ho\,. cinen1a (and post cine1na) histo1y is fonnulated. Cine1na developed and gre\\' in spatial tenns, in n1ov i e theaters, palaces, storefronts, conununity centers - in spaces that ,~·ere big and s1nall, in locations n1ral and urban. Just as cine1na "takes / took place," race also has a role in holv \\'e experience that place. v \That's more, place and its relationship to race changes over tin1e. These histo1ical shifts in both place and racial forn1ation matter. This page is tagged by: On Assemblage Metllod Continue to "Nostalgia Conceals Washington Heights" • !It Powered by S c.alar I Terms of S ervice I Privacy Policy t Scalar Feedback : 0 MARQUEE SURVIVALS: A MIULTIMODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES ~ ·.·:: :.: . ·: ,._ - ':_ ~ i: ~ ~ _ P ? ~ HISTORIES CONCEALED (5/11j Nostalgia Conceals Wal shingt· on Heights @ To be sure, there are eloquent relics of the historical past along the ivay ... At 17sth Street the eye is draiun by the gaudy ho111e of the United Church ... l\'1ainstrean1 aocounts conrn101ll} ignore Re\erend Il{e's deliberate and inventive uses of space, place and ni.edia technology after his churcl1's adoption of Loe\•/s 175th Street theater. The theater has been nlistaken for "~ a Hindu-Indochinese ten1ple; its location @ presu1ned to be in Har1e1n, and its purchase falsely cfil attributed to a donation fro1n the loe\\r's Corporation to United Church. These inaccuracies reveal a disjuncture bet\\·een the church's creative repurposing and prevailing perceptions of the theater as a relic of a bygone era. @ Douglas Gon1e1y has noted that the construction of the tl1eater in 1930 helped to convince Ke\\· Yorkers that "\i-Vashington Heights >Vas a viable nTiddle-dass neighborhood. W11ile the theater's initial sy1nbolic value for Washington Heights suggests its potential social value and uses, \\'e should not allo"'' nostalgia for cine111a and that historical n10111ent to oversb.ado~v t11e culturally significant forn1s of reuse tl1at have occurred over ti111e at the site. Lainents about the United Palace's ne~\' role as a cl1urch instead of a 1novie palace reflect a "@longing for a home that no longer exists or bas never existed." Svetlana Boy111 calls this restorative nostalgia, a forrn of recollection that "@ does not think of itself as nostalgia but rather as truth and tradition." Restorative nostalgja seeks to reconstruct the past as whole . and coherent. It is unfettered b) 111e111ories that stray fron1 this unity or that vvould fragn1ent the past .. Certain about history's n1eaning proponents of restoration "@ propose to rebuild the lost hon1e and patch up the inen1ory gaps." Restorative nostalgia occurs ,, vhen preservationists "@ rather than uncovering the past ... create an illusion of a credible niaterial past.» \'\lhen this "credible material past" is not con1ple111ented by an engage1nent 'rvith the social and cultural histories of post-cineinatic reuse, preseTvation ends up reinforcing nostalgic narratives of cine111a's golden age. < . { Continue to "Spatial Histories Concealed" • !., Powered by Scalar I Terms ofSe rvlce I Privacy Policy I Scalar Feedback : 0 MARQUEE SURVIVALS: A MI ULTIMODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES ~·' 1 .'l:''C·~l I·~~ F .:..;;·E [·~ '. P ? ~ f-ilSTORJES CONC[ALED 16111) Spatial Histo· ries Concealed The on1issions that characterize restorative nostalgia are apparent in a profile of the ®I United Palace Cathedral featured in an episode of Thilteen 's The City Concealed, an onli11e docu1nentaryvideo series produced by the NevvYorkpublic inedia station WNET. The series pm:ports to explore "the unseen corners of New York. " The episode on United Palace Cathedral presents three distinct perspectives 011 the building's history, provided by theater historian Orlando Lopes, Pastor Sail Sabino \vho tea111ed up \~•itl1 Rev. Ike Ministries for a couple of years, and iniddle aged native Ne,vYorkers, nvins Ronald and Richard Levao, vvho gre\\' up in \'\'ashington Heights during the 1950s. In this profile, the representative of the United Palace Cathedral, Latino Pastor Sal Sabino e1upha.sizes the gang violence that plagues · vv·ashmgton Heights \Vhile ignoring Rev. Ike's congregation, co1nposed of a. din1inishing group of older, Black iniddle class parishioners. Touring the palace's E><plore the historic. Cambodian·influenced interior of the United Palace Theater on 175th St ancl Broadway in Manhattan_ Source.· Vimeo auditoriu1n, the Levao hvil1s appear lost in n1en1ory. Richard explains, in contrast to today's n1edia delivery platforn1s, "the 111agic is the location of tl1e inuvie, as '' "eU as the inovie itself ... ' The oversight of Rev. Ike's congregation results in a neat categorization, relegating \Vhite and Je,vish ethnicity into the past and Don1inican diaspora into the present and future . 'vVhi]e it is true that \'V'ashington Heights \'\'as kuovvn as the "Frankfurt on the Hudson" in the earlier half of the n¥entieth centu1y, VI hat is not addressed in 111ainsu·ea1n accounts is that this reputation "·as precisely v\'l1y Reverend Ike chose this neighborhood for his flagship church. For instance, pron1otional inaterial and advertise1nents for Rev. Ike's churcl1 reveal hoVI the sy1nbolic function of n10\rie palace,s contributed to the church's post-racial proclan1atio11s and appeals. One N evv York Til11es adve11ise1nents for the church read: "@ The Church is NOT located i.n Harle111, but in the vVashington Heights section of Manhattan." l nited Churcl1 i11oved into \.Vashington Heigl1ts at the very i110111ent vvhen den1ographic do1uinance \\1as shifting in the neighborhood . . Rev. Ike's decision to inove the church frorn a historic.ally black neighborhood in Harletn to V. ashington Heights de1noustrated his an1bition to expand the reach of the church beyond the confines of one racial group, so111ething ignored in 111ainstJ:earn accounts of the chtll'ch. During the 1960s and 70s, the nurnber of Gennan-Je,vish upper- to 111iddle-.class residents fell iby over 50 percent and eventually Do1ninicans bec.an1e the cZJ dernog;raphic n1ajority. By the 2000s, bHingual sern1ons vvere delivered at Rev. Ike's church .. A desire to cater to the 11eighborl1ood':s de111ographic 1najority inay also have led to the partnership ~vi th Pi!Stor Sal Sabino's Heavenly Vision d1urch, \vhich e1nphasizes a 1nessa.ge of forgiveness and refonu, in conu·ast to Rev. Ike's continued con1111inuent to prosperity gospel. Contents 1. Black Televangelists in Movie Palaces-Turned-Churches 2. Black Televangelist past & present Begin with "Black Televangelists in Movie Palaces-Turned-Churches" : 0 MARQUEE SURVIVALS: A MULTI MODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES 8 · "iE:'(=·'j l•=r. F ·;.s·E [fC:' P ? i~ SPATIAL HISTORIES CONCEALED (112) Bla1 ck Televangelists in Movie Palaces Tu: rned-Churches Reverend Ike's conversion of lT nited l?dlace theater into a hub of his broadcasting e1npire is an hnportant episode in the history of :Black te1evangeHs111 .. Earlier fornis of televangelisn1 greatly influenced Rev. Ilte, "'r ho " 'as very @ "vell versed in the teachings. of 1\• hitte televangelist Oral Roberts. Another influence on Rev. Ike '~·as the Black Spiritual IYioven1ent, '.Vhich derived "@ frorn a cross-pollination of esoteric belief syste1ns such as Ne\\' Il1ought and 01ristia.i1 Science as ·wen as forn1s of black Pentecostalis111, Voodooisn1, and Hoodooisn1." The career of~ Prophet Ja1nes F. Jones, a notable radio evangelist and public personality associated •vitl1 the Black Spi1itual n1ove1nent, encapsulates the pri111a1y cultural and rhetorical precursors of Reverend lke's religious practice. Both inen \¥ere 111edia-savvy evangelists . . Prophet Jones used radio broadcasts to propagate his prophecies atnd inessage of prosperity du1ing the 1940s dnd 50s. A .ta '\lulnerable tin1e for religious broadcasting, he 'vas able to sidestep restrictions on rddio televangelis111 by using a @Canadian radio station that aired to his region in the U.S. 111arket. He '\-Vas also profiled positively through several print inedia outlets during the height of his popularity. He was featured on. the pages of Ebony, l\ewmueek, the Saturday Evening Post, Ti111e and @ Life ll-iagazines. KI1ov.rn dS the founder of the Church of the Universal Triu1nph, the Don1inio11 of God, Inc., Jones \\ras 111ost distinguished for ho;\• he lived like a n1illionaire. By the tiine of d fedture in a 1953 issue of Life rnagazine, Prophet Jones had relocated his church to a converted 1novie thedter, the Oriole Theatre in DetI·oit. Though the price paid is not No description .;iv.ilifable. Source: You Tube given, the theater's value v.• as lis1ed as $550,000 in a story about the purchase in @Baltin1ore Afro- An1erican. Prophet Jones's ser1nons \Vere broadcasted fron1 the theater, a fact corroborated by the @lbroadcast's announce1nent of its location., proudly stated ben, \• een the National Antl1en1 and "@ God Bless Alnerica." The national fascination ''.rith the cost of Jones's luxurious lifestyle anticipates the 111edia s fixation on the finances of later prosperity televangelists. Furthern1ore, the iinage of a Black preacher surrounded by ostentatious symbols of \V ealth dnticipates the public hnage of Rev. Ike. .. - DESCRIPTION DETAILS C ITATIOl~S SOURCE Prophet Jomes in Life magazi ne (Marci; 19531 Source: Getty Images/ Life Continue to "Black Televangelist past & presentn • lit Powered by Scalar I Te rms of Service I Privacy Policy I Scalar Feedback - : 0 MARQUEE SURVIVALS: A MIULTIMODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES i:'Y l/[~·r:·\J I •:~. F :_ G ' E [ 1 ~ ~ P ? ~ SPATIALHISTORJES CONCEALfD {212) B· lack Telev. angelist past & present Prophet Jones's highly inediated ilnage contributed to i.videspread coverage ofl1is @ lurid doi,vnfall and perhaps also to his later obscurity. The stig111a of this ruination inight explain i,vhy Rev. Ike \\ 1 ould shrug off Jones s historic significance, clainling that there \Vere no other Black preachers t11at competed ,..,,ith the va.st fan1e and fortune of ~ '<V hite televangelists Biily Grahan1 and Oral Roberts. Sin:iila.r to other public personalities and perfonners, it :is con1111on practice for televangelists to exaggerate the originality of their contributions to tl1e field. Contrary to Revered Ike's desire to be the only ren1en1bered Black televangelist (or to be ki1ov.n simply as a green preacher), Jonatl1an \>\ alton's research about Black televangelisn1 :il1ustrates ho;\', :in fact, Rev. Ike acts "@ as a connectional figure .. .in the history of African An1erican religious broadcasting." Reverend Ike is linked not only to the televangelist past througl1 the figure of Prophet Jones but also to the televangelist present through Atlanta-based ~ Pastor Creflo Dollar, founder of World Changers Church Inten1ational. Dollar 1ea.sed Loe"' s Paradise Theatre in the Advertisement for World Ch<lflgers Church International Bro1u.,:: :in 2012, soon after a @ scandal over his arrest. Before the purchase of the Paradise Theatre, World Changers 'd1urch International ("VCCI) held services at several rotating pren1ier ~perfonnance venues in Ne,vYork before settling into ll1is atlno.spheric 1novie palace, \ f'\Torth $to n1:il1ion and de.signed by John Eberson, the leading architect of these types of buildings in. the 1920s. DETAILS CrTATIONS SOURCE NY Times panorama, Loew's Parad tse Theatre Source: Ne-w York Timf";, J.;inu<iry 2015 • • Powered by Scal;ir I Terms of Service I Privacy Policy I Sca lar Feedback : 0 MARQUEE SURVIVALS: A MIULTIMODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES c' 1.·t:c·i:·~l I·~~ F .:..:,·E [·~ '. P ? ~ f-ilSTORJES CONCEALED {7 /11) Religious C· onversion. s on Br· oadway The t nited Palace Cathedral is not the only n1ovie palace that has been converted into a church. In fact there are a great number of examples of religious transfonnations of fihn exhibition spaces across the l_T nited States. Fron1 Los Angeles to Ne\-\· York, Boston to Bi.rn1inghan1, n1ovie palaces built during the first thirty ·ears of the rn·entieth century have been deemed a suitable backdrop for religious service. This con1patibility is suggested in the reverential nan1es 111ovie palaces ·were given during their "secular" period, such as ~ "cathedrals of fi1n1" and "te111ples of detuocracy." Atlnospheric n1ovie palaoe emphasized othenvorldliness, \'\'hich te111porarily elevated moviegoers fro111 the drudgery of the real world. The architecture of movie palaces repurposed as churches suggests a link benveen this and other >vorlds, between the physical and spiritual realms. Religious conversion of n1ovie palaces is ,,;despread in Los Angeles's Historic Theater District. Fonnerly Loe•N 's State Theatre is no~v ho111e to a Brazilian Pentecostal church called the Universal Church of the Kingdon1 of God ( ®J UCKG), and has bee11 re-christened "La Catedral de Fe {The Cathedral of Faith)." Stephen Barber has \'.rritten dra111atically about his e.xJ>erience of sitting in the State Theater, n1aking connections benveen the palace's earlier role and its latest incan1ation as a "cultist" church: ... r·esid1-1alfilmic liall'ueinations still hang suspended in the air, rneshing lvith the religious visions of the hard-core cultists each seated in isolation, interspersed with accidental spectators, across the auditoriian's stalls, a1vaiting the beginning of .the hourly services ... ... the cnjstal chandeliers about the balcony level appear oblivious to their new status, of illun1inating r·eligious rather than cine1natic enjlaniings ... lfil (Source) Cancion de las Angeles - Pastor Edmy. .. 0 < C.3ncion "Cmcion de los Angeles" del P<lstor Edmy. Iglesia Universal del Reioo de Dios. IURD Caracas-Venezuela. Region Chacaito. Source: YouTube Barber's account exoticizes the transition fron1 «cathedrals of film " to "cathedrals of faith.~ In fact, religious leaders 'vere able to use the excessive qualities of 1novie palaces to suture then1 into other inedia nen...-orks, through radio and television broadcasts, unseen to Barber as he sits in the "abandoned" 1novie theater searching for ghosts. Invisible to the theorist still looking only for the presence and absence of fihn is ho"" preachers not only used the exoess of n1ovie palaces to project fantasies of wealth, siinilar to ho\v they "'ere used by exhibitors during the classical Holly•Nood period, but also ho1.v they transforn1ed tbe n1ediated e;..-periences of the space. Continue to "'Religious Net\vorked Ivledia History" lit Powered by Sca l.3r I Te rms of Service I Priv<1cy Policy I Scalar Feedb;;ick : 0 MARQUEE SURVIVALS: A MIULTIMODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES c '' '.' t: ,. r:.~11 ·~ ~ F :... :,· E [·~ ~ jJ ? ~ HISTORIES CONCEALED (8/11J Religious Networked Media History On South Broadway in Los Ange1es, this other layer of neh\'orked n1ed.ia history exists in different nodes along tl1e street. Leased by 1 .vell-knov, 711 Alnerican te1evangelist !E:r Gene Scott, The United Artists Theater on Broa(h\·ay opened as the University Cathedral in @ 1990 . vVith the rnove, Sc.ott brought the iconic "Jesus Saves" signs to Broad1vay's streetscape, placing then1 C1top the roof ofthe nited Artists @ building . • t..s used by both churches, these theaters functioned (or continue to function) as nodes in a religious neh\'ork that exceeds the confines of the historic theater district in Los Angeles. In the case of Catedral de la Fe, UCKG connects an international network spanning across Latin An1erica, the United States, Europe md Africa. Gene Scott's O\\'ll operation began at Faith Center C11urch in Glendale in 1975 and flourished at the United . .!\rtists Theatre. The United Artists Theatre / @ University Cathedral \Vas sold in October 2011. It has since been converted into a luxury God's Angry Man - Werner Herzag's documentary on Dr. Gene Sc:ott. Part 1/6. S<Jurce: You Tube hotel, branded as "a friendly place, continually ne\v" by its nev• O\\'ners @ A.ce Hotel. The hotel's 'vebsite refers to their"~ loving reanin1ation of the fon11er flagship n1ovie house of United Artists, ,,;th no n1ention of the preservation perfor1ned by Gene Scott's church. Likev•, '1se, despite the erasure of the role Rev. lke's church and bl'oadcasting played in preserving the United Palace Cath. edral, the benefit of this preservation is also no\'\· being appreciated as film retun1s to t11e nited Pai.lace . . .!\successful @ cro'f\·d funding ca1npaig11, organized by the ne\vly fanned nited Palace of Cultura1 A.rts and hosted by the \Vebsite Indiegogo, raised $40,000 in July 2013 to bring filn1 back to the theater son1e forty or more years after the last fi1n1 screened the.re in 1969. \\'11-ile the space has been used for nu1nerous conceits and (£] perlormauces, it is not yet equipped to be a regularly ninuing 111ovie theater. Funds 1 .vill be used to purchase a digital projector, clean the theater's scTeen and run progranuning to ensure tl1at the United Palace can be considered the largest theater in l\1anhatt:an \\ith a regularly scheduled fthn progran1, and the onl) n1ovie theate1· north of 128th Street. For many, regularly running filin progra1nn1ing constitutes the ultimate fulfillment of the building's cine1natic legacy. But delighting in the theater's return as venue for film exhibition and secular liYe pe1fonnances threatens to erase the history of Rev. Ike's religious conversion of the theater and to i.gnore tl1e social 001np]exity of \'Vashington Heights v.'hicl11nade this conversion viable. Continue to "In The Heights" It Powered by Scalar I Terms of Se rvice I Privacy F'olicy I Scalar Feed back : 0 MARQUEE SURVIVALS: A MULTI MODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES ?' vE~·r: · \J I •:~· F :_ G'E L: 1 ~ ~ P ? ~ l-i lSTORIESCONCEALED (91 11) In T 1 he Heights DESCRIPTION DETAILS CITATIONS SOURC E NY Times panor;;im.a, United P;;ilace Theatre Sottrr:e~ New York Times {January 2015) There are signs, ho\Ve\ er, that the tlb.eater's ne,. v function as a cultural perfor111ance space ~\•ill aclalo,vledge its p]ace in vVashington Heights, even if it sti.U prefers to forget Rev. Ike. The Bil ca1npaign's pron1otional ·video highlights plans for the theater that \\·ill cater to the Latina/o com1nunity of V\ ashington Heights. Th. e video itself n1ixes Spanish and English, strongly ackno\v ledging the Latino audiences the theater hopes to attract. In fact, the video begins \\lith Lin-1\.fa. nuel Miranda, the coin poser of @:I In the Heights, a Broad,vay 1nusical set in V\ ashington Heights. The n1usical "'as perfonned at United Palace Theatre soon after plans to convert back to filrn '''ere announced. (( Continue to aBroad\vays Concealed" For more information and to donate, please visiL. http ://igg.me/<1t/relurn-fi Im-to· the-palace Sattrce: Vimea IN THE HEIGHTS is here_ www. intheheightsthe musicakom. Source. -You Tub e .. : 0 MARQUEE SURVIVALS: A MI ULTIMODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES c '' 1.'l:''C·~l I·~~ F .:..;;·E [·~ '. fJ ? ~ H!STORIESCO CEALED(l0/11) Broadways C· oncealed Linked by the EJ:1 n1etony1nic street na111e for ente1ta:in1nent in the United State.s, South Broad\vay in Los Angele.s and Broadvvay in Upper Manhattan are both ho111e to 111ovie theaters that survived through the 20th century. Though they are located in settings very distinct frorn one another, they are both distinct fro1n the signified location conjured by the sign "Broad\vay." 1anhattan is tl1e borough that houses both the l nited Palace Cathedral and the portion ofEroadV1• ay around Forty-second Street (though the boundaries of this diBt:r:ict have also shifted over ti1ue) '~that becan1e n1etonyn1[icJ for [its] n1ost in1po:rtant business." Just as the representation, or the in1agined idea, of "Broadw·ay" does not align \Vith the current composition of ®:I V1'ashington Heights, the neighborhood that surrounds United Palace Los Angeles' BroadV1•ay also presents. challenges to a nostalgic rendering of an e11te1tain111ent center. Although the nan1e's origins in (fil Dutch are lost in the adaptation of tl1e street 11an1e in cities across the US, Broadi.vay's syn1bolic re]ati.onship to the theater and entertai.runent industries in 1Ylanhattan ren1ain. Y\ ell lnloi.\1.1 theorists of space and place Henri Lefebvre and l\llichel de Certeau detail ho\v the eve1yday experiences of space affect not only the lives of co1111nunit} n1en1bers, but also the urban landscape itself. Social and political relations, \'\'hich include co1nplicated ideological assu1nption.s, and everyday practices produoe space. Clip from "Posse on Broadway" {19881 by Sir Mix-a-Lot Clip from "Empire State of Mind." Jay Z featuring Alicia Keys Works in Latino urban .studies a.re al.so relevant to de1nonstrating hov1 race also affects the.se processes. They focUE on ho,,,-practices of consn:ucting place specifically intersect '\'1th ho\v racial fonnation, \vitl1in Latino con1munit:ies and culture, affects political e111powennent and/ or alienation: exan1ples include Victor M. Valle and Rodolfo D. Torres' Latino Metropolis and Raw Hon1ero ·valle's Ba1Tio-Logos: Space and Place in U' rban Chicano Literature a11d Culture, ¥.-hich provide histories and case studies for Los Angeles; and Ana Aparicio's Do1ninican-A111erica11s and the Politics of En1poiuern1ent, \\'hich exan1ines 1'\ ashington Heights. \o\l'hile these iuonographs are not concerned specifically with Broacb~vay, they nonetheless produce fi·ame\o\ ,.orks fur considering tl1e historical and political deve]op1nent (and in tl1e case of Barrio-Logos cultural as well) for Latino/ a con1n1unities h1 the places that could be overshado\oved b) the S}'lnbolic din1ension of an overdetennined Alnerican street narne like Broad,vay. Continue to "Bibliography for Histories Concealed~ ~ Powered by Scalar I Terms of Service I Privacy Policy I Scalar Feedback : 0 MARQUEE SURVIVALS: A MIULTIMODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES ~. ,' =-·: ··. ,, - '-~ ~ ~ ~ ~: p ? R f-ilSTORJES CONCEALW (111111 Bibliography fo· r Histories Conceale· d Aparicio, Ana. Dorninican-A1 nericans and the Politics of En1powern1ent. Gainesville: UniveTsity :Press of Florida, 2006. Barber, Stephen. Abandoned In1ages: Fil1n and Fi./Jn's End. London: Reaktion Books, 2010 .. Boyni., Svetlana. TI1e Future of Nostalgia . :Ne\\' York: Basic Books, 2001. Drechsler-Marx, Carin and Ricl1ard F. Shepard. Broadivay, fro1n the Battery to the Bronx. Ne\\' York Henry . Abranis, Inc. , 1988. Dunlap, David W. On Broadivay: A Journey Uptoiun Over Tin1e. Ke-.,v "i:'ork: Rizzoli International Publications, Inc, 2006. Elsaesser, Thoinas "TI1e Ne\¥ Filn1 Histocy as ~1ediaArchaeology," CilV€l11AS 14 nos. 2-3 ( '.:I004) : 75-117. Gallatin, Martin. "Reverend Ike's Ministry: A Sociological Investigation of Religious Innovation." :PhD diss., Ne'i~' York Univel'sity, 1979. Go1ne:ry, Douglas. Shared Pleasures: A History of Movie Presentation in the United States. _ lfadison: The University of\• Visconsin Press, i992. -----. "rvlovie Audiences, Urban Geography, and the History of the Alnerican Fihn." Tite Velvet Light Trap 19 (1982): 23-29. Huhta1110, Erkki and Jussi Parikka. J. '11edia A .. rd1aeology: _ 4.pproaches Applications, and Irnplications. Los Angeles: University of California Press, 2011. Jones. Janna. T/1e Southern Movie Palace: Rise, Fall, and Resurrection. Gainesville: University :Press ofFl.odda, 2003. Liu, Alan. "Re1ne111bering Net,vorks: Agrippa, RoSE, and Nenvo:rkAi·chaeology." Keynote presentation at en.vo:rk Archaeology Conference, Miami University, Oxford, OH, April 21, 2012. Lo~\·enstein, Steven 11:. Frankfurt 011 the Hudson: The Ger rnan-Jewish Con1111unity of J~ashingt;on Heights, 1933-1983, Its Structure and Culture. Detroit: Wayne State University, 1989. Maltby, Richard. "Ne'v Cinen1a Histories," in E::tplorations in Neiv Cinenia History: _4pproaches and Case Studies, ed. by Richard Maltby, Daniel Biltcreyst and Philippe l.Vleer.s (Oxford: :Black\vell Publishing, 2011): 3-40. --- and l.Vlelvyn Stokes and Robert C. Allen, eds. Going to tile Movies: Hollyivood and the Social E:1.perience of Cinen1a. Exeter: University of E.xeter Press, 2008. ~ielnick, Ross and • .!\udreas Fuchs . Cine1na Treasures: A Neiv Look at Classic !Vlovie Theaters. 11'1inneapolis: Voyagetu- Press, ?004. Naylor, David. A1nerica11 Picture Palaces: The Architecture of Fantasy. Nev> York: Van Nostrand (( Ma1tby, Richard. u Ne\\" Cinema Histories," in E.1.plorations in Netu Cinenta History : Approad1es and Case Studies, ed. by Richard l.\llaltby, Daniel Biltcreyst and Philippe 1'1eers (Oxford: :Blaclnvell Publishing, 2011): 3-40. --- and llrielvyn Stokes and Robert C. Allen, eds. Going to tile 1\fovies: Holly1vood and the Social Experience of Cinenia . . E..xeter: TJniversity of Exeter Press, 2008. Melnick, Ross and Andreas Fuchs. Cine111a n·easures. : A Neiv Look at Classic Movie Theaters. lvlinneapolis: Voyageur Press, 2004. Naylor, David . .4111erica11 Picture Palaces: The Architecture of Fantasy. Ne\v York: Van Nostrand Reinhold, 1981. Parikka, Jussi. What is Media Archaeology? !1 1 Ialden: Polity Press, 2012. Putnam !vlichael. Silent Screens : The Decline and Transforn1ation of the A111erica11 li-fouie Theater. Baltin1ore: John Hopkins University Press, 2000. Riley, Oayton. "TI1e Golden Gospel of Reverend Ike." J\;'eiv York Tinies. March 9, 1975. S1'.1A. Robles-Anderson, Erica. "TI1e Ciystal Cathedral: Architecture for Ivlediated Congregation." Public Oiiture 24, no. 3 (Fa.ll 2012): 577-599. doi 10.1215/ 08992363-1630672. Sanders, Charles L. 'The Gospel According to Rev. Ike." Ebony. Dece1uber 1976. Simmons, l\i[a1tha and Frank A Thon1as. "Frederick Joseph Eikerenkoetter." Preaching ivith Sacred Fire: An Anthology of African Anierican Ser1nons, 1750 to tlie Present. (Ne'"' York: W. '1\r. Norton & Co1npany, ?Oto): 649-653 . Sklar, Robert. Movie-Made .4n1erica.'. A Cultural History of .4nierican Movies. Ne\\' York: Vintage Books, 1994. "United Palace TI1eater," The City Concealed, Thirteen. http:/ / wr\\l\\·.thirteen.org/thecityconcealed/ 2009/ 04/ 20/ united-palace theater#.UNRDLbbglc"'" vValton, Jonathan L. "Tl1e Gree11ing of the Gospel (and B]ack Eody): Rev. Ike's Gospel of '1\ ealth and Post-Blackness Theology." Pneruna 33 (2011): 181-199. ---. l'Vatc/1 This ! The Etl1ics and Aesthetics of Black Televangelis111. Ne\YYork: NevvYork niversity Press, 2009. Wolf Steven. "Televangelist Scott Sets Up Shop on Broad;vay." Los Angeles Ti111es .• t..pril 30, i990, Do,vnto\\rn Ne\\'S 5, 13. End of path aHistories Concealed"; Continue to "Proj 194 3n • • P<Jwered by Scalar I Terms of Service I Privacy Policy I Scalar Feedback /~ ( n • - ~ t a • ; • ~ • \ \ Boyle Heights ,,,,.iL ·~~ · 1st Night Rioting ~, ~~ ~Subsequent N1ghts 1 th.... · ~Rioting 7 ....... ------------·~~ ~ ,\ .. _ Yi' Elysian Park Cldnatown The press ivent on using the kind of rhetoric that it did, and the police ivent on doing exactly ivl1at they had been doing. It iuas all this talk about Mfll-ican gangs, and zoot-suiters, and paclzucos, and all the rest of it. Then ive got into '43, and the ivhole thing exploded. During the Second \o\Torld \.Var, ho1ne front hostilities "·ere directed not only ounvard to Gen11any, Japan and Italy but also to"r ard parts of the An1erican @ population. Forces at different levels of goven1n1 ent, state, and the civilian population, along \V i.th the press, \\'orked together to inarginalize . . ostracize, attack and confine Japane.se, Black and Mexican An1ericans during \\a1tilne, even if they did not intentionally~ conspire together .. V..'bile this chapter pri1narily focuses on exan1ples related to the cultural n1e1 1101y of the 21ttacks on Mexica.n Alnericans in Los A1i,geles du1ing this period, a nationa] context situates thee\ ent \ Vi thin historical net1Norks of po,ver and place . Contents 1. Historical Background & Other Riots 2. On Assen1blage Method 3. Movie Theater as a Site of Violenoe I 4. Kim Sing Th eatre 5. Ki.111 Sing The21tre II 6. Blood on the Paven:1 ent 7. Blood on the Paven1ent : Carmen 8. ''The inob \V ent happily do,v n Broad,vay ... " 9. Individual Fran1es of Reference 10. Movie The.:iter as a Site of Violence II 11. Ejected Spectator: Challenging Representations 12. Ejected Spectator: Challenging Representations II 13. Ejected Spectatorship I: Race, Gender, and Space 14 Ejected Spectatorsbip II: :tv1igrant Spectator 15. Ejected Spectatorship III: Disidentification 16. Identity Produced \iVithin Representation 17. Bibliograul1 v for Projecting 1041: Pachuco Goes to the Movies 1st Night Rioting L,, Subsequent Nights ~ ioting Echo Park - '1 I) lJ • ; • ~ • \ \ Boyle Heights ... . > -::: ·:,;... 1st Night Rioting ~ ,,,~ ~~ ~Subsequent N1ghts 1 th.... · ~Rioting 7 .... --------------~~~~ ~ '-~ - ... i vr,\J- Chinatown 111e press went on using the kind of rhetoric that it did, and the police lvent on doing exactly ivhat they had been doing. It was all this talk about Me>..'ican gangs, and zoot-suiters, and padlucos, and all the rest o.f it. Then we got into '43, and the whole thing exploded. - Carey 1'-Ic\\'illiaJ11S intervie'\'ed by Joel Gardner. 1978 During the Second v\Torld vVar, ho1ne front hostilities "'ere directed not only oun\•ard to Gennany, Japan, and Haily, but also to,. ,-ard parts of the An1erican @ population. Forces at d i ffe rent levels of governn1ent, state, and the civilian population, along \\ith the press, "'orked together to inarginal:ize, ostracize, attack, and confine Japanese, Black and Mexican An1ericans during "'artilne, even if they did not intentionally @ conspire together. \l\lbile this chapter pritnarily focuses on exan1 ples related to the cultural 111e1nory of the attacks on Ma'lican An1ericans in L-0s A.ngeles during this period a national conte: Kt situates the event '\rithin historical net\.\'orlzs of poiver and place. C. ontents 1. Historical E-ackground & Other Riots 2. On .~sen1blage Method 3. 1ovie Theater as a Site of Violence I 4. Kiln Sing Theatre 5. Kin1 Sing Theatre II 6. Blood on the Paven1ent 7. Blood on the Pave1 11ent: Carmen 8. "TI1e 1nob \\'ent happiJy dov1ln Broad\vay ... " 9. Individual Fran1es of Reference 10. lvlovie TI1eater as a Site of Violence II 11. Ejected Spectator: Challenging Representations 12. Ejected Spectator: Challenging Representations II 13. Ejected Spectatorship I: Race, Gender, and Space 14 Ejected Spectatorship II: lv1igrant Spectator 15. Ejected Spectatorship III: Disidentification 16. Identity Produced Within Representation 17. Bibliography for Projecting 1943: Pachuco Goes to tl1er.1ovies Begin 'vith "Historical Background & Other Riots" • Powered by Scalar I Terms of Service I Privacy Policy I Scalar Feedback 1st Night Rioting L,, Subsequent Nights ~ ioting Echo Park = = 0 MARQUEE SURVIVALS: A MULTI MODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES I' '. t: ''C•.'i I·~" c i. to: EC·~, P ? ~ • - l.l 7 .. ; • ' ~ $T. \ '1! ~ Boyle Heights 1()h· 1st Night Rioting ·~ * 17 6':' Subsequent Nights A Rioting • lff ii ,_ __________ ...... ~~ ~ A . .-r 1 1 • PACHUCO GOES TO THE MOVIES (1117) Historical Background & Other Riots In 1943, riots 1vere repotted in several cities across the United States, front Los Angeles to Beautnont and Mobile to ~Detroit and Harle1 11, to ~name the largest. The Los Angeles riot is unique a1nongst these in that it is still re1nentbered as the "@Zoot Suit Riots," nan1ed after the clothing that allegedly incited the riot. l T nsurprisingly, this evasive nante has been contested, at tintes called the @"so-called pachuco riots," "sailor riots" and by Chester Hitnes at the tin1e of the event, race riots. "Race riots" 1 \ras conunonly used to describe events that took place in @ other cities across the U.S. in 1943, but not as frequently in regards to Los Angeles. This desire to avoid discussing race and ethnicity 1 vith the Zoot Suit Riots etnerged at the titne fron1 nntltiple causes: potential legal claints i\1exican Anterica1ts have had to 1vhiteness has historically confused clear racial identification; 1 \ra1t inte sensitivities to an alliance bet\veen the United States and lVIexico @ affected how Mexican An1ericans could be identified in the press "ithout offending the suppo1t provided to the An1erican \\rar effott by Mexican nationals and Mexican lunerican soldiers. In pa1t , this influenced \\Thy contetnporaneous news repotts conjured the "zoot suit" and "pachucos" rather than focusing on the i\1exican and Black A1nericans beaten that \Vere not 11r earing the fashion, @ influencing even no'v how the riots ai·e rernen1bered. i\1e.n1ory flattetts n1any of the socio-econontic issues that influenced the riots in Detroit and Harle1 11, such as labor disputes in factories and the rese.nt1 nent resulting front discrintination agaittst Black soldiers hotne front the 1var . ~- ~•c ... '"'"'"°' .... ••• u•• ·~•-.,. ·-• ........ _ ...... .,. .,,,.,... ... o.•<-• •••• •"" .. , ... ,., .. ,,,, •• ,;.,• ,,., .. ,,.. ••.•••• ,,.,.. "" "' " · - War Is a Skill Our Sons M ust l earn E~ .. ., ,.,_.._ ~r e.,l.1 1 - ·:ii. -Oklnpr U!I ~r~ l111i ii.. .ao~do:1>9<>I •in,..,.., 'O.'"r.i.,;.~n4i hl,t'h ttd mi ot.l ,l dl 1 ....... _ II~• •ll'tl;;? 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JUJ.l R.t"tl'f -o:• •" ~· They-tthct l)i., :I)~ '""'"'"·lhrll fMrcb.o ld. .....:1 11«1• lu.-c Jc.1-.1...l 1 0 ··c,.~•i.o\I; Oo"' pl-(..., ,.., ~ - Th~ " 1 f)Ud> <.f ~" i. r..i.."t.a.t .,,~. i~ illodlilth'• -,I:'( ~ 1 .-, - 1 N!gi. \\'".,:lull ~ .. .....,. - 11-Jnp '°' _: ..... lllld O<l-\ll~! _,. 1~1111"""111._-. t'iMNa.M 1 1.1.> ,.1i. • ~..-..... ,. 1 k '"4f-..,; .JJ Iii d •(M tolr~y .. it• f«llrd l ~AIRCH ILD tllC. l ll"t AllO Al ll Pl.A8( CO k fOJAT I Oll' 1.a>• Olllfrftlt• 't•t•.11-r• ~~.: ........... ___ .. .-.. .. ____ .._ .. c. __ ..... -~ . OESCRIPTION DETAILS CITATIONS SOURCE Life Magazine. "Race War in Detroit:• (5 July 1943): 93 RA~[ WAR IN DfTR~ll Am;rican s maul aad m urder ea ch o ther as Hitle r w ias a laltle in tbe nation's m ost 11plo si11 cily t ... -r1.11·1t .. 1 o101<4 U... I),•""" .. ,. ... tt. _,_.,.r.,..,_,,1,.,..,.-....i..-.....a. "1..,110 .. • fl)t....i1 .. ,, , INi:;.ot-..l,t.t.., llW .. ll'*'• •~ ... .,. """"' ~ ..... l .. 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Rioting '"f ii ----------...-·~·~ ~ A . .-r Echo Park • - ~ t a • ; • ~ vO • \ \ Boyle Heights 1st Night Rioting ~ Subsequent Nights ~Rioting ~ ....... --------------·~~ . ,\ .. _ . . .. ~A IRCH ILD E: 1 1t C. l llilt A l!!D ,ll!lilPLINf ~1>11aci1rr1ur• ui: .11. l'ot-. f('(l iC .._.,.._..,_..,_. _ _ _ ............,. .. t, DESCRIPTION DETAILS CITATIONS SOURCE Life M<igazine, "Race Wa r in Detroil" (5 July 1943) 93 Source.· Life Miigilzine Movie theaters, trolleys and other public spaces appear in n1aterials that docu1 nent n1any of these riots. For exa1nple, in describing the rioters fro1n June 1943 in ~Detroit, Do1ninic Capeci and Iv'lartha Wilkerson relate ho\· \· in the early 1norning of June 21 \•vhite "adolescents and young inen .. . assaulted black patrons exiting fro1n the all-night cinen1as" after having "gathel'ed about the Ro:i,.y and Colonial ~theaters" @ (9). 'fhe consequences of the Detroit riot vvere inuch n1oi'e severe than the Los Angeles riot: 34 deaths, 676 injured 'li.ctinis, and s2 n1i1lion esti.n1ated property dan1age (87) .. In contrast, the Los Angeles riot yielded no deaths, injuries "'\\ere ininin1a1, and there \Vas @ no severe property dan1age. '""'~-If-al. iJ-1 ~l.t.:n I•~~ l.>fillr 1 l.-- 1.11111~ t l"'nt.C..•~-..&o •_..cn-1tt..N-.~ · D I~ a.:...n,.,. ~II, J Y~ ..i. .,_•wt..,. J.t~• ~I _._ 9dll 11ttrllll l ltUailft• iilo;mb l 1 - 1k.._ ~ U..l.~ ,._ ,..,.,...,.-0 ... IN4 •~· t.r-ki rr~li.wilJn.11! !1-tw,.g • ,_... r• - nN"pw.l lwlhr f"l'l!I' I'- &Nitdiirab- 'ttffr !.Hli!!r1 iii~ ( T. &_, ............. _.,iu-.. • rt.bl litn.tiLMin] l!!'t...,.V-~n;b liii., f'i!!'"JOU ~iiMyYW.dolo. ti bftbUll Mtl.lnli:r \!Alli! I.ii; - •krn~ -1 11.rwe~..., ...., rM..ll.ill I~ 1.-. t:. &. t.fr c ,_Paa i;uJ 'v' 'efMs: liP ,_ti.....___. Wit!l ~ 1)(! .......... ....... ll..tr1,,Jo tl:.t Nie ....... w • Ml.!il'T _ uo • '"•.._, ~~lfl'll lba1-romull•l .... Mlkrnn. t. t!iiloll • U,.poof!. .. ~ ·;_11_.,,.,,.., .......... ,.,.Ji .. ._ ~ t. •l<iJo o.a.r .. .,.r.. n. p-..-""'~-le lloo• ~.lit!!!! dP .,,_,,:,.. ...... L.~'A' ~l~Dof~"' rl l)lo•.;. mt.ii lllF l"""4! Miw.11 .,. )~ •~ "Not published in LI FE." Notice Arcade Theater seen in background as Army patrols street in Detroit in June 1943. Source: Gordon Coster- Time & Ute Pictures/Getty lm.iges TJlifJC l'lltt• f~riqVim"l.r.11 01,,_......-,,...,... ~.Pir -ill! •M-' pllll.-7ilil!C'hrlnH..irL 1\sorWrim 111•.-il H--ir.r..._b. .Hti .. 1• -Til'll !iii•,,. liL 1·- ... J.l..o•t llri ~- d.:l uu;I "" t.. 1-.h-iJ;..:!>W! .......... ~., ....... u 1 "-1 •Mo.I .. •• o.1!1~ ""'"'"'-f•~ ...... Miil 1q 'lf\...~ .. !i • ._-..~ "-""~ ....-.& 1 ,..,,,._n,.,,......r.,..,..•-liMu••-' •~-.:i.IW•lla'•ollffll''- l ...,,._.,...,ll'l' l..,~··"•""'1..;.""1~ •~....,, .. _.,111111\t'Mor:kt.t. ilttl11 lll(.ll., """"'i....a..u,-.,w.polli Pt!!..ft~~'u ~9"Hf•ir.J!..... _......._, ... ~~._.....,.h\ "'9tl1 ·~t!ul._.. ta" l_,.iq '1 'lfk-411•••- '•MM ,... C-l••IJl• • •~f',..... f!- .... ~ ......... 11-cl .. ~P•il l ' .... ~• IJll'l~lll-1- •11 .. ,...._,.;,.l..:IP!tliii'i f - ,.._pi., r~• ;Mo"1.o.- ... 11 ~d 1..5'1 lllo&. ~.,,. ...... .,,. ra ..... .rWA Nlikl ......... r • .,.,..- ... 5-U ,1.i..""'t-._ .. ~ --· .... !Jh.'l<f!il•-'""'l!iil..v- 1iolllW}oU~·-..-·-'"""" ... 1st Night Rioting Subsequent Nights ioting Echo Park .. - ll ~ 'J .. ; • ' ~ $T. \ ')I! ~ Boyle Heights 1q~ 1st Night Rioting ~~ • 17 ": Subsequent Nights ·>. Rioting ·ty~ ,_----------~~~ ~ A . .-r Ii 1 "" ? ' ••11• .. Uldlh'' (<olto ~ ......,...., """ .. ,"l ""'.._...,.rrlilrl _.,., .. w .. _ .i. llti Jtttn .... ....._""' .,.., ~ ''°'""' '"'" r.- 11 .. '"""' ,_ •~,,..,....,_ Siwu tilt lf f6'ft.h ...... ,...,.._,_....._.r_1o,...ii1o7~ ~-~ fl:& lllJ A _ ........ .-, • ...,-·~w1..i\ioo.-"' 111 ,.., ..,, _ _._ , "·~ .... - ..... ~-... ·~-...... """"M•W-ol-•"'""°""'I)\'.,.......... ~.,.., ... ,1- ..i.,a-t.r .. _ ... _,..,_ .. 1..-a.u, ....... :.-,.... .. _ .. ...i.i.- .. .t•._.,.._......,.,..~,"...,,._...,~,..,..,, _._._.,...,,"""" ... .,. 1;o14-1t.-•••,•·••"'li!llr«.,...l;.,,*"~1·-~,..,..,.,,._""'',.. .,.,.u...,1. ........,b.-w ........... \ ..i ... 11.1.-.1~s---.. 11 • .._11w..iu-- '"'""' ...... _ , .. ,.._. ,,._Mim.e.""'--"'_....., __ ~ ~··~lil•l<••l-••--~ • ..,_ .. _,~4,. _,. .. """"'"'"""'., .Ao•! """ lnlito' ... lo\"'1'""'4.• - ·'""'-.••• lo olltf!liloll>o~.-..._......., '- .. DESCRIPTION DETAILS CITATIONS SOURCE Life M•gazine. "Race War in Detroit:• (5 July 1943): 94-95 Source: Life M3gilzine Later in the sununer, the Harle111 riot \Vas precipitat ed by an incident in the lobby of the Braddock Hotel. Ru1nors spread after a 'vhite police officer (Ja1 nes Collins) shot a B lack soldier (Robert Bandy) after the soldier protested at the officer's perceived n1 istreat1nent of a B lack fen1 ale hotel custo1 ner (@ Ma1jorie Polite). l T nlike in Detroit and Los Angeles, the Harle111 riot \Vas contained to only n vo days, _ <\ugust 1-2, and resulted in n1uch fe,ver deaths than Detroit, still 1 nore than Los Angeles' count of zero: @ six B lack persons dead and several hundred injured. Additionally, accotmts of the Harle1n riot are different fro1 11 ~Detroit and Los Angeles, in that Black Harlen1 residents \Vere reported as the prin1a1y rioters, in contrast to the other cities' Walter P. Reuther Library (28591) Race Riots. Violence, Detroit. 1943 (W•yne State University) Source: http:/lreuther.wayne.edulfiles/images/28591.preview.jpg ' vhite rioters attacking Black and Latino targets (in the case of Los Angeles), or at least @ equal 1neasure of \\• hite and non-\\• hite rioters (in Detroit). The Harlen1 riot also involved looting resulting in property da1 nage on a larger scale, son1 e estilnates placing dan1 age as high as $5 n1 illion. While the ve1y nan1 ing of the Zoot Suit Riots as a "riot" is frequently challenged in literature about Alneric.an race riots, historian of t11e Harle111 and Detroit riots, Do1 ninic Ca peci has stated "@it '"as t11e Harle1 11 upheavals of 1935 .. and 1943 t11at ushered i11 Watts, Ne\vark, and the second Detroit." Ac.cording to Luis Alvarez, in contrast to \vhite Ne\v Yorkers' interpretation after the riot that black rioters acted i11 anger to\vard w·hite Alnericans, "Black Ne\v Yorkers involved in the rioting ... sa\v their behavior as targeting property ratl1er t11an persons" (229). Alienated by poverty, rising rents and increased living costs, con1bined '"ith unfair and unequal treatlnent by 'vhite business o\vners, financial institutions, legal structures and the police force, Harlen1 e111pted in rebellion. Replacing the ilnages fro1 11 Los Angeles and Deti·oit of Mexican A1 nerican and Black people being dragged out of streetcars and 1novie theaters, reports sho'v that t11e riot in Harlen1 111arked a shift, 'vi th accounts of@ " 'hite pati·ons harassed and beaten in the public spaces of t11e 1novie house and trolley car. Ho\vever, this aspect of tl1e rioting 1vas rare. Ne\vspaper i1nages fro1 11 tllP J'1nt fl'lf"'llC:: ()1 1 t"intpr_ c;' 1nntit1 er nf lll'!<ll t'\l f' lntl1i tl9' ~tlif !7f"'lf"lf1C:: ~~ '.\iPll ;t_ c; tl1P (=="I nP.~t1•11l'tin11 nf \1\r hitP- ~ - 1st Night Rioting L,,. Subsequent Nights ~Rioting Echo Park • " - ll ~ 'J .. ; • ' ~ $T. \ '1! ~ Boyle Heights 1()h, 1st Night Rioting ·~ • 17 6~ Subsequent Nights A Rioting ·ty~ ,_ __________ ...... ~~ ~ A . ...r Ii l (@ Ma1jorie Polite). Unlike in Detroit and Los Angeles, the Harle111 riot \Vas contained to only tl¥o days, .<\ugust 1-2, and resulted in n1uch fe,~ ·er deaths than Detroit, still n1ore than Los Angeles ' count of zero: @ six Black persons dead and several hundred injured .• <\dditionally, accounts of the Harle1n riot are different fro111 Eil Detroit and Los Angeles, in that Black Harlen1 residents \Vere reported as the prin1 ary rioters, in Walter P. RE1.1ther Library (28591) Race Riots. Violence, Detroit. 1943 (Wayne State University) Soun:e: http://reuther.wayne.edu/files/im;iges/28591.preview.jpg contrast to the other cities' \vhite rioters attacking Black and Latino targets (in the case of Los Angeles), or at least ® equal 1neasure of \vhite and non-\\• hite rioters (in Detroit). The Harlen1 riot also involved looting resulting in property dan1age on a larger scale, so1ne e.stin1ates placing da1nage as high as $5 1nillion. While the ve1y nan1ing of the Zoot Suit Riots as a "riot" is frequently challenged in literature about An1erican race riots, historian of tl1e Harle1n and Detroit riots, Do1 ninic. Capeci has stated "®it \V as tl1e Harlen1 upheavals of 1935 .. and 1943 tl1at ushered in Watts, Ne\vark, and the second Detroit." .~cc.ording to Luis Alvarez, in contrast to \vhite Ne\v Yorkers' interpret ation after the riot that black rioters acted in anger to\vard \Vhite An1ericans, "Black Ne\v Yorkers involved in the rioting ... sa\\' their behavior as targeting property ratl1er tl1an persons" (229). Alienated by poverty, rising rents and increased living costs, c.01nbined \V ith unfair and unequal treatlnent by \vhite business ow11ers, financial institutions, legal structures and the police force, Harlen1 erupted in rebellion. Replacing the ilnages fron1 Los Angeles and Detroit of Mexican A1neric.an and Black people being dragged out of streetcars and 1novie theaters, reports sho\v that tl1e riot in Harlen1 niarked a shift, \'Vith accounts of® \vhite pati·ons harassed and beaten in the public spaces of tl1e 1novie house and trolley car. Ho\vever, this aspect of tl1e rioting 1vas rare. Ne\vspaper i1nages fro1 11 the 1 iot focus on rioters' looting of luxu1y clotl1ing and goods, as \veil as the ® destruction of \\• hite O\vned businesses. In The Poiuer of the Zoot, Luis Alvarez situates tl1e Zoot Suit Riots in the context of tl1is violence across the c.ount1y in 1943, "rather than vie\'Ving [tl1e1n] as isolated incidents" (200 ). Alvarez's argu1 nent tl1at the "the bloody c.onfrontations ... reflected the ongoing sti·uggle for dignity by non\vhites in the \V a1tin1e l Jnited States" (199) connects to his overall interpretation of the zoot style as an expression used by rac.ialized youths to reclai1 11 dignity in tl1is pe1i od of discti1nination. Finding this e1nphasis on dignity and respect i1nportant for understanding the Harle1 n rebellion and the s1 naller scale expressions of adopting a zoot style, tl1is project is interested in ho\\• racial issues ,~ ·ere coded in coverage of the riots in \vays that influenced cultural narratives fonned around the events. Race \\>as evaded in the case of the Zoot Suit Riots tl1rough the use of"zoot suite1 "' and "pachuco" to avoid identifying attacked youths as :tv!exican or :tv!exic.an A1 nerican. This resonates with ho\v racial injustice \\•as 1 nini1nized as an influence in the Harlen1 riots in ® c.onten1poraneous coverage, fra1ned instead as "® potent expressions of racial antagonis111." Contmue to "On Assemblage Metliod" • !it Powered by Scalar I Terms of Service I Privacy Policy I Scalar Feedback lqh 1st Night Rioting 11 -~ 6 ~ L,.-. Subsequent Nights A . ~Rioting · ~" ----------...... ·~·~ ~ """""' Echo Park n • I Boyle Hei hts :N~~ · 1st Night Rioting ~ Subsequent Nights ~Rioting @ ~ ~ ~ ii(. " 1' 1 l f>ACHUCOGOESTOTHEMOVJES (2117) On Assemblage Metho, d OnAssemblage Method ~S~l.lge_ - IHA 8 The intervention of this project in exploring a research topic as overdeter1nined as the Zoot Suit Riots 'vill be to focus on the cenh·ality of the n1ovie theater in the written and audio-visual rnaterial docu1nenting and restaging this event. M. i"lny studies fron1 the last decade have already yielded excellent insights on il1e cultural histories and narratives associated 'With il1e so-called dot, but have rai·ely devoted significant tin:i.e to considering the in1portance of public space in staging ilie riots thi"lt took hold of the nation in the su1111ner of 1943. This project \viii einphasize ho~v the n1ovie theater shaped both the n1ediascape that served as the background to the violent encounters during the riots and the cultural re1ne1nbering of these events in Chicano/ a history. In dra\ving these connections, bet\veen the arious accounts, visual materials and cultural nan·atives about this pe1iod, an asse1nblage or collage narrative 'vill en1erge fron1 the jt!A'taposition of these different elernents. In the space behveen these collisions, I hope to challenge the suppressions and separations that hiJJve traditionally fra1ned the Zoot Suit Riots. Just as Alvarez provides a 1nodel for bringing togetl1.er black and Mexican ~l\Jnerican zooters si1oed local and regional bistories of the violent "'artilne events that took hold in 1943, I use Scalar to forge a spatio-visua1 asse1nbli"lge of ele111ents that brings together v;ritten histories and audio-visual nlateri.als to re..-ie.,,· accounts of the ethnic-racialized SJ>ectator in and out of the 1novie theater. I an1 interested in ho\v these public spaces 'vere shuultaneously sites of pleasure and danger for A.111erican audiences of color during this period. The assen1blage approach of inultiinodal historiograpl1 y, enabled by dati"lbase logics reveals unanticipated connections between the fictional and non-fictional, ph~.rsical and psychological, lived and represented eJ..'Periences of various racial groups affected by the violent conflicts that took place in 1943. Multi.modal assembliJJge introduces a mediation of these events that builds on, but is also distinct fron1, earlier forn1s of nl:ediation - fihnic, journalistic, noYelistic, historiographic - that have fran1ed this event. -· · • . Abou t this 11isualiuition I Legend I Jyll! Heights 1 st N lght Rioting L,, Subsequent Nights ~Rioting • Echo Park " - ll ~ 'J .. ; • ' ~ $T. \ '1! ~ Boyle Heights 1()h· 1st Night Rioting ·~ • 17 6~ Subsequent Nights A Rioting ·ty,_ ,_----------~~~ ~ A . ...r •· Assemblage_ On Assemblage Method iji#f 1 1 TowardPosL The intervention of this project in exploring a research topic as overdetern1ined as the Zoot Suit Riots \Viii be to focus on the centrality of the 1novie theater in the \vritten and audio-visual 111aterial docun1enting and restaging this event. Many studies fron1 the last decade have already yielded excellent insights on the cultural histories and narratives associated \Vi th the so-called riot, but have rarely devoted significant ti111e to considering the i1nportance of public space in staging the riots that took hold of the nation in the sun1n1er of 1943. This project will e111phasize ho\v the n1ovie theater shaped both the 1nediascape that served as the background to the violent encounters during the riots and the cultural re1ne111bering of these events in Chicano/ a histo1y. In dra\\'ing these connections, bet\veen the various accounts, v'isual materials and cultural nan·atives about this period, an asse1nblage or collage narrative will e1nerge fron1 the jux1:aposition of these different ele1nents. In the space benveen these collisions, I hope to challenge the suppressions and separations that have traditionally fran1ed the Zoot Suit Riots. Just as Alvarez prov'ides a model for bringing together black and Mexican An1erican zooters, siloed local and regional histories of the violent \V artin1e events that took hold in 1943, I use Scalar to forge a spatio-visual assen1blage of elen1ents that brings together \Vritten histories and audio-visual 1naterials to revie\v accounts of the ethnic-racialized spectator in and out of the 111ovie theater. I a. m interested in ho\v these public spaces "'ere sin1ultaneously sites of pleasure and danger for A111erican audiences of color during this period. The asse111blage approach of multimodal historiography, enabled by database logics, reve.als unanticipated connections bet\veen the fictional and non-fictional, physical and psychological, lived and represented experiences of various racial groups affected by the violent conflicts that took place in 1943. Multimodal assemblage introduces a n1ediation of these events that builds on, but is also distinct fro1 n, earlier forms of n1ediation - fihnic, journalistic, novelistic, historiographic - that have fran1ed this event. This page is a tag of: • To1vard Post Cinema History • Assen1blage Methodologies (( Continue to "Movie Theater as a Site of Violence 1 » • It. Powered by Scalar I Terms of S ervice I Privacy Policy t Scalar Feedb.;ick About this visualizatio11 I legend ~ - 1st Night Rioting L,.-. Subsequent Nights ~Rioting Echo Park :n • ~1e yo $1'. • Boyle Hei hts ' 1st N lght Rioting *-Subsequent Nights Rioting --· 1! i 0 Wt ~ j'\j ~ 0 111Q). "'~ • ~ \..4 .- 1 I •· ~ i PACH UCO GOES TO Tl-IE MOVIES (3117) Movie Theater as a Site of Violence I I began to feel conspicuous, ill at ease, out of place. It i:uas the white folks' iuorld and they resented rne just standing in it. I crossed the street and went into Loeiu's just to get out of sight. Chester Hin1es, If He H ollers Let Hiln Go 79 The n10-vie theater i:nay not at first seern to stand out as a notable setting in the texts featured in this chapter. Ho\-vever, the i111age of th. e n1 ovie theater recurs as a place in the imagined netvvork of public spaces included in accounts and fictional stories about the so-called "Zoot Suit Riots." Naines of n1ovie theaters repeatedly appear in repo1ts fron11943 published in ne\;,•spapers and national 111agazines, such as Ti:rne and Life, as '"'ell as in later sociological and fictional representations of the event. W " hile in n1ost of these vv i:itings the movie theater is n1entioned on!) in passing, this section 'vill position the movie theater at the center of these events, proposing connections between cine1natic spectatorship and racial violence. i 1 .nother reason behind this intervention is to inten·upt ho\\' the histol') of 111ovie t11eate:rs is fra1ned. vVbtHe other parts of this dissertation are concerned ,,;th conunercial repurposing of space this cliapter suggests reconceiving the official histories of n 'il·ei1tieth century inovie palaces and hou.ses that sustah1 a sentilnenta] and nostalgic in1age of previous eras of Alnerican n1oviegoing. The folio ving stories foregrow1d the contradictions and entangle1nents that characterized cine111atic spectatorship for ethnic-racialized subjects in An1erican urban cities, specifically focusing on l\1exican and BlackAmericans during the 1940s. VVhlle this project's n1ain focus is on l\11exican Alnericans, Los Angeles was hon1e to diverse racial and ethnic populations during this era. In this section, I "·ill highlight excerpts fro111 a1ester Hi111es' If He Hollers, Let Hini Go tl1at depict a racialized e}..'Perience of tension, a "feeling out of place," in \\'arti111e Los Angeles' public places - this site of dislocation and relocation being specifically set in a Loe.,v's n1ovie theater. Cinen1atic and literary exan1ples presented throughout this chapter explore ho'v the event of the Zoot Suit Riots is retold and discursively reconstructed in these representations. This section addresses the disruptive effects of this historical event, specifically as it reshaped the inthnacy of spectatorship eA"})erienced within the movie theater. Continue to U Kim Sing Theatre» .!§. Powered by Scalar I Terms of Service Privacy Policy I Scalar Feedback r I 1st Night Rioting ~Subsequent Nights Rioting 7o ~",.. ''>,; b~ \J .~ Echo Park j n • I Boyle Hei hts 1st Night Rioting ~ Subsequent Nights ~Rioting ~ 1 l ~ ~ ~ ii(. " 1' PACHUCO GOES TO THE MOVIES (4/17} Kim Sin1 g Theatre 111 February 2013, I visited the for1ner site of the Kim Sing Theatre at the intersection of North Figueroa Street and Alpine Street. Thirteen years earlier vVillard Ford, the son of actor Harrison Ford, purchased the structure that contained Kiln Sing Theatre for @] $300,000 . According to Ford's account, the theater had been abandoned and neglected for around sixteen years before he noticed it ,.,·hile 011 a bike ride in Los Angeles' ChinatO\\'ll and decided @:!he had to buy it. vVhile stories about Ford's purchase, or his recent posting of the property to the @] real estate n1arket, regularly include the year of the ®1building's construction in 1926 and its initial purpose as a vaudeville theater, accounts in popular 1nedia rarely (if ever) explore the inultiple identities the theater had in the tiiue bet'Neen its opening and :its state of disuse, a tilne span of 1nore than fifty-five years. i'.iatching the changing deinographics of the location's surrom1ding co1111nunity, before the theater screened Chinese-language fi.1n1S as the Kini Sing Theatr· e, it '''as the Carn1en Theater, screening Spanish-language filrns. Before t:hat it \'l'as the Alpine Theatre the 11a1ue it had '!V hen it opened as a Lfilva.udeviUe theater. V\1!1ile little inforn1ation is a ailable about the theater's stint as the Cannen Theater, its na1ne conjures Latin Alnerican star Car1nen fl.1iranda as \V ell as the 'first queen of the ino\ ies,' the Spanish dancer l!"l"l Ca.r1uencita '''ho starred in an @] 1894 Edison fihn. TI1e fact that the Ca11:nen theater screened Spanish-language fi.lnIS, and later the ~Kim Sing Theatre Chinese-language fill11S, hints at its role in constlucting a ~paraJJlel filn1 culture" between the U.S. and Mexico, perhaps den1onstrating as Laura Isabel Serna suggests "how inoviegoing could strengthen rather than weak.en attach1nents to ho111e countries" (11). Preserving fe.,\· aspects of the tl1eater Ford conve11ed the building into a 1nixed-use space "vith four retail spaces and a ]oft ,.,'ii thin five years of hi.s purchase. \'\lb. He he rendered the theater unrecognizable by converting it into a large open kitchen, so111e of the building's features 'IYere retained, the Kiln Sing Theatre's original marquee \V as restored in the building's renovation and remains in use today. 0:00-.23 Yau Uve in What? Annat~tion "Built m 1926_" Ele-ginnings of movie theater~ are inflec:tedwith contemporary undersraooing-; of what the space has bKome. Segment profilingWrllard Ford's renovation of Kim Sing Theatre on HG TV's "You L ive in What?" in an episode called "Dumpster, Mill. Theatre." Aired on April 7, 2013 [Season 2, Episode 6)_ Source: Cn" tic;i/ Commons Carmencita: Spanish Dance. The film shows Cumencita in a solo dance performance_ "Chinatown theater" from Los Angeles Public L ibrary Sh;ides ofl.A. collection (LAPL00002646. S-003-19'5 120) I 1 st N lght Rioting &,. Subsequent Nights ~ ioting • Echo Park • ·~ f - '1 ~..,Ja I) lJ ... • , • ~ ,.. re ~ ~o ' i 10 . i 1st Night Rioting ~ ~,. *-Subsequent Nlghts • ~ST. Rioting t'ft ~ ii(. " 1' ~~ ·~ d'~ ".l! ~ • 4 ~ Kin1 Sing Theatre for 0 $300,ooo . According to Ford's account, the theater had been abandoned and neglected for around SL\."teen years before he noticed it \\• hi1e on a bike ride in Los Angeles' Chinato~n, and decided @he had to buy it. \'\ll1i]e stories about Ford's purchase 1 or his recent posting of the property to the @real estate market, regularly include the year of the @1 building's construction in 1926 and its initial purpose as a vaudeville theater,. accounts in popular inedia rarely (if ever) explore the inulti.p1e identities the theater had in the tiine bet1\:een its opening and its state of disuse, a thne span of n1ore than fifty-five years. 11atching the changing den1ographics of the location's surrol111ding conununity, before the theater screened Chinese-language fillns as the Kim Sing Theatre, it 'vas the Carmen Theater, screening Spanish-languagefihns. Before that it \Vas the Alpine Theatre, the nan1e it had "'hen it opened as a @vaudeville theater. While little information is available about the theater's stint as the Carmen Theater, its nan1e conjures L.atin .4.lnerican star Carn1en Miranda as "'ell as the 'first queen of the 1novies,' the Spanish dancer fi').1 Carmencita ' vho sta1Ted in an @ 1894 Edison fihn. 111'e fact that the Carmen theater screened Spanish-language filn1S, and later the ~Kim Sing TheatTe Chinese-language fih1is, hints at its role in constructing a uparallel film culture" bet¥leen the U.S. and I\1exico, perhaps den1onstrating as Laura Isabel Serna suggests "ho"' inoviegoing could strengthen rat11er than \'\·eaken attach1nents to hon1e countries r, (11). Freseni.ng fe\· V aspects of the theater Ford converted the bui]ding into a mixed-use space '\i.th four retail spaces and a loft "ithin five years of his purchase. \'\l'hile he rendered the theater unrecognizable by converting it into a large open kitchen, son1e of the building's features 'vere retained, the Kin1 Sing Theatre's original n1arquee v.<cts restored in the building's renovation and ren1ains in use today. (< Continue to "Kim Sing Theatre II" P<Jwered by Scalar I Terms of Service I Privacy Policy I Scalar Feedback 0:00 :23 Y ou Live in Wh<it? Annotation Built in 1926_" lleginnings of mo11ie theaters ;mo inflected with contemp<>rary understandings of what the space has baome_ Segment profiling W illard Ford's reno11ation of Kim Sing Theatre on HG1V's "You Live in What?" in an episode called "Dumpster. Mill. Theat re." Aired on Apri l 7 , 2013 (Se;;ison 2. Episode 6 ). Source: CritiCdlCommons C;;irmencita: Spanish D;;ince. The film shows Carmencita in a solo dance perfomi;;ince. , ..,,._. "Chinatown theater" from L a5 Angeles Public Library Shades oil.A collection (LAP L00002646 . 5-0J3- l 9 5 120] ............................................ ~!llm--................. & I 1 st N lght Rioting L,, Subsequent Nights ~ ioting • Echo Park n ~· ~"f ~~ ' on ri - 12 t lJ IJ ; • ~ • Boyle eights - 1st Night Rioting ~ Subsequent Nights ~Rioting ~ 1 1 I ~ l'ft ~ ~· ~ PACHUCO GOES TO THE MOVIES (5/ 17) Kim Sin ~g Theatre II Kim SingThe;,tre, fmm intersection with Downtown L os Angeles landscape visible in background Pink and yellow light~ bulbs chase one anot11er brightly across the underside of tthe theater's orange neon inarquee as I stand beneath it in 2013. Standing on the '¥est side of Figueroa Street, across fron1 the structure that housed Ford's ne,vly consolidated co1npany called "~ F1agship," I gli1npsed t\\'O figures sparring on the other .side of a large front \vindo\v. [i] In addition to the fonner Kini Sing 111eatl'e at 722 N. Figueroa, Ford's 1nixed-use co1npound no"· also includes a ~ gyn1 called g Strong Sports, a strange and so111e,vhat unsettling backdrop to conten1plate events that took place at this exact location in June of 1943. Kim Sing Theatre marqLJee lights, Feb 2013 1st Night Rioting l,- Subsequent Nights ~Rioting Echo Park • n ~ ~ J • ~ • \ " Boyle Heights . -. - ... c ~ - 1st Night Rioting ~ i l'ft ~ ~ · • ,,oh ~" ~ Subsequent Nights 1 11'.1.. '>: ~Rioting ~7 . .._ ').. ,.- ..._. ________________ .~,.{\..,.._ , . ~ . I \Jr'-\..I .- 1 1 Strong Sporn Gym on Kim SingThea!rewebsite: Strong Sports Gym on lnstagra111. 2013 This page is a tag of: • Kiln Sing Theatre in Dv>ell Magazine • '\-Villard Ford in D\\'ell 11agazine • Flagship in Ki1n Sing Theatre • Kini Sing Thean·e, fro1n intersection (( Continue to "Blood on the Pavement" ' . • P<Jwered by Sc alar I Terms of Service I Privacy Pol icy I Scalar Feedback 1st Night Rioting L,,, Subsequent Nights ~Rioting Echo Park • :n • • ~on ~1e yo $1'. 4T ~ ~ i ~ w j!I( 11 ~ 11! ' Boyle Heights " ... - . 1st Night Rioting - ~ Subsequent Nights 1 111 ~Rioting . 'L ,,. .... '}'- . 1 .6.... . • I JiJr \..4 - 1 l •· PACHUC O GOES TO THE MOVIES (611 7) Blood on the, Pavement The Zoot Suit Riots have been exhaustively covered by historians, sociologists. journalists, psychologists and ant11ropologists from various tin1e periods, and t11ough scenes in theaters such as RKO, Bijou, Car1nen and Orpheu1n appear in ne<'lrly e\ ery account that recalls that ,~·eek of "rioting," the significance and recun·ence of tl1is theatrical context has rarely been explored. During tbeZoot Suit Riots, sailors strayed fro111 official strategies of \\'ar, and designed and n1obilized their o>vn agendas of violence. Though they \Vould be repri1nanded b ·a~ Governor's Citizens Conm1ittee and First Lady Eleanor Roosevelt~ publicly, and @ their o>vn systen1s of authority privately, the damage they caused to the collective psyche and cultural n1e1noI}' of Mexican A.n1ericans in Los Angeles would be 111.uch n1ore elusive and difficult to docun1ent. This section collects accounts fro1n this significant event in Los Ange1es' Chicano history, focusing on \Vhat it n1eans that these stories feature the n1ovie theater as a backdrop. Continue to ~Blood on the Pavement: Cannen" • !., Powered by Scalar I Terms of Service I Priv<icy Policy I Sca l a r Feedback State Attorney General Robert W. Kenny and members of a citizens' committee are shown when they met. ~turday , June 12. 1943 ;md opened investigations of t he zoot suit riots in L os Angeles. L eft to right, Kenny, Dr. Will.sie Martin, Karl Holton. Bishop Joseph T McGucken. and Walter Gordon. 5-0urce: Los Angeles Public Library . FIRST l lADY TRACES ZOOT RIO. TS TO DISCRIMINATION "f irst L adyTr;;ices Zoot Riots to Discrimination." Los Ange lesTimes (17 June 1943): A. roh 1st Night Rioting :,Y ~ 1, ~ Subsequent Nights )L Rioting ~,, ----------...-·~~ ~ \..\.t..-: Echo Park • n - '1 ~..,Ja I) lJ ... • , • ~ >i."~ ,.. re d'~ ·~ ~ ~o ~ ' i 10 . i 1st Night Rioting ~ ~,. *-Subsequent Nlghts • 4 ~ST. Rioting ~ CIJl,natown On Thursday, June 3, 1943, the first day ofthe Zoot Suit Riots, sailors entered the Cannen Theater, "turned on the house lights and roa111ed the aisles looking for young inen in zoot suits" (Pagan 170). Repo1ts about the Zoot Suit Riot in Los Angeles repeatedly retun1 to the setting of the n1ovie theater, and in particular to the Cannen Theater for the start of the incident. Reliably, Eduardo Obr· eg6n Pagan's thoroughly researched 111onograph i=!Murder at Sleepy Lagoon includes the location of the Canuen Theater in the recounting of one of the riot's initial attacks. In this study Pagan ,, veaves a 00111pelling . ' . ": ( . ~ ·MU DER .. r~~ , ' AT HE SLEEPY . · : : . t· LA~OON lOOTSUl!'S, IUCt!,~ RIOT IN W/<RTINllL. ... social history and provides a great deal of research about the Sleepy Lagoon case, the 111ass ~ fJ~fwyMv arrests, ensuing tria]s, and press coverage in 1942-43 that had infl!uence on the @ Los Angeles race riot . In detailing the start, Pagan describes the initial encounters that \\'ould result in a five-day race riot A group of sailors stationed at the Naval Training School, not finding civilians they had a scuffle '.vi.th earlier in the day, attacked any young 111en rese1nbling the persons they had previously encountered. Even though boys of only h~ elve and tbirteen years of age '''er· e repo11edly found in the t11 eater at the tiine, the sai1ors nonetl1eless dragged the young 1nen out onto Alpine Street. Then in tl1e public vie\\ of tl1e street, sailors stripped and beat their targets . Soine reports suggest the sailors \\'ent as far as burning the offensive zoot suits re111oved during the struggle (170). If the Cannen Murder at the sreepy Lagoon (Eduardo Obregon P~jn. 2003) Theater provided a rnodicun1 of protection and anonyn1ity for racialized subjects at this tilne, their forced ejection during the riots onto the city's streets reveals the tenuousness of the theater's safety as a public space. The relationsl1ip bet\'.'een tile social dynarnics of the t11eater and tl1e street is addressed in later sections of H1is project. The attack at Carn1en Theater on the first day of rioting, and at subsequent theaters in tl~e days that followed, can be found in a great deal of reports about the il1cident. Turning to prin1aiy sources, the il1itial scenes V.'ere not extensh·ely covered in contemporaiy ne\l.'S coverage, though that \vould dran1atically change the \\'eek @ after rioting had begun. Carn1en Theater sho"rs up in published accounts of lNhat llappened Vlrith the Zoot Suit Riots, and it:s entangled eA'Positions about second generation Mexican Alneri.can youth. !Beatrice Griffith's ~A.nierican Me (originally publisl1ed in 194!8) cons.iders the socio-econornic conditions of ~1exican Arnerican life in the inten\'ar period. The book begins Vlrith a thorough reviev,,1 of pachuco/ a cu]ture and the Zoot Suit Riots, based on ne\vspaper accounts, inte1vie"vs co111111Ln1ity reports and bulletins. Griffith relies on secondhand accounts, as she describes in setting up the project that U the stories are the children's ov,rn stories, told to ine by then1" (x). In the n1ore authoritative section about the 1 THE . MOKE .. t \ Jyle Heights 1st Night Rioting L,, Subsequent Nights ~ ioting • Echo Park .............. lllll!!l!! .... ~ ~ .~ ~ .""~ :·., .............................. "" 1 ~' ~111111!1 ........ !l!!'!!lll .......... llllllllf~o~rc~e~d~e~J~ec~t·io~r~1~d~u~n~n~g't'he~n~ 1 o•ts~o1~1t'-o~tl~1~e~ci~ 1 tJ~_,s~s~t~re~e~.ts~re~v~e~a~Ll~t~h~e't~e1~1t~10~u~s~n~e~s~s~o't~tl~1e~t~h~e~a'-te~r~js~s~a•te~ty!IJll ...................................................... ~ "Lllllll!l ........ !llll"" .... lll .. ll!! ....................... ll!ll,I. YI~.: as a public space. The relationship benv ·een the social dyna1nics of the theater and the street is • - l.l ' .. • r ~ $T. \l\\1'''· addressed in later sections of this project. ~,1.;,; ' ,. •1~ · ~ I·· \ '1! ~ Boyle Heights 1()h· 1st Night Rioting ·~ * 17 6':' Subsequent Nights A Rioting · lff ii ,_ __________ ....... ~~ ~ .......... Ji 1 The attack at Canuen Theater on the first day of rioting, and at subsequent theaters in the days that follo,ved, can be found in a great deal of reports about the incident. Turning to prin1ary sources, the initial scenes '"·ere not extensively covered in conte1npora1y ne\\'S coverage, though that 'vould dra1 natically change the 'veek @ after rioting had begun. Carn1en Theater sho\\'S up in published accounts of 'vhat happened 'vith the Zoot Suit Riots, and its entangled e.\.'Positions about second generation Mexican Alnerican youth. Beatrice Griffith's ~A111erica11 Me (originally published in 1948) considers the socio-econon1ic conditions of l'vlexican An1erican life in the in ten var period. The book begins 'vi th a thorough revie"· of pachuco/ a culture and the Zoot Suit Riots, based on ne\vspaper accounts, intervie\\'S 1 co111nnu1ity reports and bulletins. Griffith relies on secondhand accounts, as she describes in setting up the project that "the stories are the children's o'v 11 stories, told to 111e by the111" (x). In the 1 nore authoritative section about the event (Griffith s'vitches behveen the "children's o'\111 stories" and this style throughout the book), she references the location '"ithout citation, stating that on June 3, \vhile searching for the "Alpine Pachucos," sailors "stonned into the Car111en Theater, roa111ed up and do,~·n the aisles pulling boys fro1 11 their seats, tearing clothes, [and] battering heads" (21). 1 THE SMOKE Illustration on cover for •The Smoke" section of Griffith's AMERICAN ME Source: Bedtrice Griffith, Americlln Me. Reprinting (originally published 1948). Westport: Greenwood Publishing Group. 1973. ll5l @ Cannen Theater is also specifically n1entioned in sources '"hich have beco111e key tei.1s about Mexican An1erican heritage. Like Griffith's sociological exploration, these sources place the riots in a wider historical context, therefore only briefly describing the riots though the incident is significant in describing the challenges and clashes faced by second generation Me.xican Alnericans in the 1940s. In the canonical Chicano Studies text book Occupied A111erica, first published in 1972, Rodolfo Acuna a111bitiously covers the histo1y of Chicanos/ as fro1 n l<!tino USA: A Cartoon History (Carmen Theater, detail) Source: Liltino USA: A C•rtoon History (2000) It' ilVNe. 1 943 I A G-f'.Dllf Or Cl1 ICAl'loS Be/IT ANGLoSAtLDRS Wko ~~T/1-''tlNG TOPl<:kvrsoMe CH IClll'I AS' .1 lifY Vf£~A~reD B'I TlisPOt.tce, BUT ThAT SAMe tflGHT f~fS'A1~ ENTEflEO TllE CAP.MerJ lHeATER. /'tt'ID BEAT lll~ ~l\Af'l Z00T SVl~5. !l>Iesoan1erican civilizations to the present-day period (a vantage point \vhich obviously varies depending on '"hich of the eight editions is consulted). @ Acuna recites a narrative that beco1nes fan1iliar in researching the riot: "sailors \\'ent on a ran1page - they broke into the Cannen Theater, tore zoot suits off custo1 ners, and beat up the youths. Police arrested the victi1 11s" (204). In describing the event, .4.cufia uses the phrase "sailor riots," careful to use a label that shifts attention a'vay fro111 the '"ardrobe of the victi1ns and to,vard the sailors n1ost noted for acting out violently dtuing the riots. Calling the event's very na1ne into question, .4.cuiia develops a n1ethod for talking about the attack fro111 @ "A Radical Vie'" of the 20th Centu1 y Chicano." • It. Powered by Scalar I Terms of Service I Privacy Policy I S calar Feedback 11 ;;-.\ ~ 1yle Heights Tox 1st Night Rioting rty 1 6~ Subsequent Nights 1)\ . ' Rioting '"f ii __________ ....... ~.,.,. ~ A · """' Echo Park Car1nen Theater is not the only theater that appears in repo1ts fro1 u the event; in co1n111entary fro111 the five days of violence, 111any different theaters are named. At tin1es repo1ts broadly referred to Do,vntow1 1 Los Angeles' relation to theaters, as \\ith an entry fron1 the A.tlanta Daily World fron1 that v veek . The article describes ho~\' '\ v i.th increasing intensity eveiy night, serious rioting has taken place"' unexpectedly "even do\\'ll on Broad,vay in the theatre district" (Levette ). A featul'e in the Los _4.ngeles Tilnes quotes a Navy spokes1nan sending a \.Yarning to avoid theaters and other public places of recreation, stating that "it is advisable for all Navy personnel to stay off the streets and out of theaters and cocktail lounges" ("City, Navy Clan1p Lid"). At the sarne tune that it ~ ale1ts Navy personnel to possible danger do\>\'Dtown,. this. article also rehearses a routine story, describing ho'v "groups of servicen1e11 roa1 11ed the streets, beating and disrobing zoot suit ,.,·earers \Vl10111 they encow1tered on th e Featured in Los Angeles Dai I y News in 1943 Source: Los Angeles T;mes side\\'alks ... in so1ue cases taking youths fi:on1 streetcars and out of n1oving-pictur e sho\vs and iuanhandling thenL" Tbe violence of these acts is e111phasized by reno..,vned Los Angeles journalist, lawyer, and activist Carey Tulc\.Yillianis in his repo1ting at PM: The 1nob of 1000 service1nen and civilians iuho rvith the police giving their tacit approval, raided virtually ~ evenJ dow11to1v11 1notio11 p ich1re on June 7 and hauled l ilfexicans into the streets r vhere they ivere beaten, and, in several cases, stripped naked and le;_ft lying unconscious on the pave1nents ivas looking for Me::ticans, but they did settle, in afe1u cases _, for a Negro. It cannot be too strongly e1nphasized @that these ioere race riots. Mc\ViUianis adds din1ension to the 'Nritten narrative of the incident, by inclading details ignored by iuany - Hearst Press Incited Can1pai&1f1 Against Mexicans, Proinotecl Police Raids, Whipped Up Race Clashes - n- ew A: f<' l\;1c'~ ll lvls.. Nut C111n~t~r Ho"'~ • • ~ (> 1d~· ·1 1~u nr '·i~inD" \\'oit· 7&.;ut c 1_4..,1"'~ .. .. • • ,. u· ... ·-·--~.&---' __ ____ :_ .. _ . __ .._ .... _ .. : ___ _ did settle, in afeiu cases,for a Ji.legro. It cannot be too strongly e7nphasized @that these 1vere race riots. McV'l'illian1.s adds d:in1ension to the '.Vritten narrative of the incident, by including details ignored by iuany conteinporaneous journalists. First, be highl-ights race in describing "\Nho \'\ras pulled fro1u 111ovie theaters: and streetcC1J.:s. Not "youths," "boys," "custon1ers," nor "zoot suit \¥earers," but "Ivlexicans." Even the headline used for the a11icle "~Hearst Press l nc:ited Can1paign Against Mexicans, Pro1noted Police Raids,. !!Vhipped Up Race Clashes" explicitly @ refers to the significance of race and ethnicity in the riot. Second, Hke !e\\' other news stories fron1 the tin1e, Mc\'Villian1s describes 110\\' attackers "did sett]e, in a fe'<\' cases for a Negro." " While race -- along \· vith the attacks on African Atnerican 111en during the riot -- is considered in P1vI, and in the blackne'.vspapersAtlantaDaily v\Torld ai1d the ig California Eagle, it \Vas not n1entioned in 1nainstrea111 press accounts. The Los Angeles Ti1nes only brings up the issue of race to report Eleanor Roosevelt's 001nni.entary about discrin1ination as an influence on the riots. The Jllew Yo,·k Tin1es largely ignores the issue. The differences in reporting carried O\'er into ho"'' the event \>Vas depicted. in the national inagazines Life and Ti111e . Life depicts the events a111bivalently, being careful not to characterize the sailors as the aggressors ("Soon co111batants \>\ 1 ere seeking each other out in restaurants, theaters and bars"), \Vh.ile at the sa111e ti111e the short a11icle does acki10,~·ledge that "Los Angeles has the biggest IYiexican population of any city in the U.S.," going on to say that " crJ other observers recognized race prejudice as a factor w·hich led service111en to beset s'varthy civilian youths w ·herever they sa\\' them. "Ti111e 1 nag. azine took an even inore syinpatheti.c approach to the racialized population targeted :in the riot, identifying '.\'ithout qualifications how race inarked the l.Vlexican An1erican and Black youths for attack. Tl1e ~feature describes the downto~vn scene as a nvisted carnival: The n1ob ivent happily doiun Broadiuay, repeating in every theater, the Rialto, the Toiuer, Loeiu's. Others dropped street-cars, pulled off zooters, Merica1lS orjltst dark co11lplexi.oned rnales. On u.Jent the niob, ripping pants, beating the young civilians, into the Arcade the Roxy, the Carneo, the Broad1uay, the Central and theJi.leiv lvlillion Dollar theaters. " Carey McWilliams. "Hearst Press Incited Campaign Against Mexicans, Prnmoted P<i lice Raids, Whipped Up Race Clashes~ PM (11June 1943): 3- 4. Why Don't We Recall Hayes llJ F r om Spainf ~11thrraitu Tri<XI To 1 ;itc- All F~ists in l 1, S, He. arst • Incited Zoot Suit Riots Charge Standard of Cal 1 • 'I Haliam Hin• ~ Gels 1 Navy Oii Reserves fleelMayC ome --. . . .. . .... Aduul1£b'traltur1 ~1o~·es to 7 Oul and fighl c:n-J Elk Hilla I>tal P'.lftJ: Carey Mc:Williams. "Hearst Press Incited Campaign Against Mexicans. Promoted Po lice Raids, Whipped Up Race Clashes.· PM (11June1943 ): 3-4. 5th QOLUM H D:All:.IES LAUNCH U.STSIDE 1ERROR~~ _,. ,: - . ... ....... - . ... _,, - 7 ... -- ... I. I .~ 1111111or , CAL IFORMW EA:&it1 PH;OTO COVlllAQ :C ·™-'- ... ~ ~~'..!::~ I ............... .......... ............ . .... .... ~ ................................................ ~ & I ZOOT . RI0 1 T---=="-- JOL TS WATTS "Zoot RiotJolts Watts," California Eagle.10Jurne 1943 == 0 MARQUEE SURVIVALS: A MULTI MODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES 2' v t: ''C•.\J ICA c.'- FE c>~' P ? ~ n " - ll ~ 'J " ; • ' , ..... ,, \ Boyle Heights . ' lqh ~ · I "> Subsequent Nights 'h~ · 1st Night Rioting Rioting '#7~ '-------....i•f'f. '}' - ~ .. A .~ I!. 1 PACHUCO GOES TO THE MOVIES (9/ 17) Individual Frames of Reference American Experience: Zoot Suit Riots clip (1/1) The recurrence of niovie theaters in these detailed descriptions, connecting racial discri111ination to the riot, suggests the significance of the inovie theater as a public space '<l'hich left Mexican Alnerican and Black patrons vulnerable to violence. Accounts that focus on the stories of specific individuals ,. . . . ' ... . . . .. -. ,.. - . ,. .... ,. ... - -" -· . ·" \ ryle Heights ~ l - 1st Night Rioting ~ Subsequent Nights ~Rioting Echo Park n ~c~ Jn BJ:.., on - " ~ iJ • , • ~.ST. Boyle Hei hts 1st Night Rioting ~ Subsequent Nights ~Rioting The recurrence of n1ovie theaters in these detailed descriptions connecting racial discrilnination to the riot, suggests the significance of the niovie theater as a public spaoe which left Mexican An1eriran and Black patrons vulnerable to violence. Accounts that focus on the stories of specific individuals function to: I) garner syinpathetic identification for a group vilified at the tune by the inainstrea111 press, t11e police force, and brutal groups of sailors and civi.li.ans; and 2) den1onstrate ho'IV en1bedded the young people attacked were in sites of American entertaiI1111ent and popular culture. For exan1ple the Tinze article uses this strategy, describing the e:x"})erience of one yollllg n1an: Scores of cars loaded with soldiers and sailors poHred into the area. Soon after dark a rnob fanned, surged doivn Broadway, crashed into the 01phe1nn I11eater, ivent doiun the aisles sl1outing for pachucos to stand up. In the balcony the 1nob found 17-year-old Enrico Herrera, sitting iuith liis girl. H e and others ivere dragged doivnstairs to the street_ ; the citizenry pushed back to give them roo1n ivhile he was beaten and stripped naked. The croivd hoivled. When the sailors had finished, the police dutifully edged up, took Herrera to the hospital. Historian George Sanchez, decades later, in i993, also puts a na111e to one individual in the canonical B, econ1ing 1 '1exican.4111erican: On June 7, 1943 he [high school senior, Pedro Garcia] ivent to see a 1novie at the RKO Theater on Hill Street, as he and 1nany other MeAican An1 erican young people like hirn had done on countless Saturday nights. He had taken an aisle seat and u as enjoying the pichu·e iuhen a group of Anglo An1erican servicenzen burst into the theater looking for Mexican 'zoot suiters.' They grabbed Pedro, dragging hin1 outside the theater and into the street@ {26 1. Many accollllts of the riot's n1ost violent day, June 7, feature a11 of do¥,rnto\vn 's n1ovie theaters as the backdrop. They also begin by privileging the individual as an entry point into the chaos of the attacks. For one n1ore exan1ple, in The Power of Zoot Luis Alvarez synthesizes deep historical research and oral histories to e1'':p1ore aspects around the histo1y of the zoot suit tl1at have largely been ignored, including aspects. of the riots obscured by focusing only on 11exican Ainerican n1.en as victi1ns of the riot. "\111He Alvarez's historiographic in terventions \\<ill be explored in a later section, h. e too begins a chapter on the Zoot Suit Riots '\'ith a specific narne attached. to a fan1iliar story, this ti1ne coining frorn an oral history interview: . . . Vicente 1liorales carefully dressed in one of his tailor-rnade zoot suits for a night on the toivn. 11ze young Jl,.f exican,41nerican teenager planned to dance the night aivay ivith his girlfriend to the jazzy sounds oj'the Lionel Ha1npton Band at the 07phe1un Tl1eater. Midivay through the shoiv, hoivever, Morales Ivas accosted by a group of Ivhite sailors Iuho, zuithout provocation, began shoving hi1n and screaming obscenity-laced insults. (155) This page is tagged by: An1erican Experience: Zoot Suit Riots clip This page is a tag o, f: • lunerican E.xperience: Zoot Suit Riots clip ,, Continue to "Movie Theater as a Site of Violence II" ~le Heights 1st Night Rioting &.,, Subsequent Nights ~Rioting • Echo Park ' . ((,• ·~ ···· ~ • n ~ ~ J ri - " t ~ ... • , • ~ • ~ i \ " Boyle Heights • . . • .· 1st Night Rioting - ,,oh ~">- ~ Subsequent Nights 1 11'L · ~Rioting •7 ....... --------------~~~~ ~ • I.~ . .. 1 vr'-.\.1.- l'ft ~ ~ · .. 1 1 PACHUCOGOESTOTHEMOVJES (l0/17) ! Movie Theater as a Site of Vio, len 1 ce 11 For audiences of color in the l nited States during the Second ¥Vorld War, exclusion fron1 Alnerican culture "vas not only apparent on t11e screen through absences ofrepresentation, or on the flip side of tl1at, by the presence of grotesque caricatures in filn1S. IC Exclusion >\•as also n1anifested physicall} and violently as spectators were literally dragged fron1 their potential seats of identification and beaten on the city's public streets during this \\•eek in Jtu1e 1943. Ejected fron1 theaters, they "·ere throva1 out onto the streets of Alpine, Figueroa, Hill and Broad\vay. \\That did the eJ..'Perience of this disruption of cine1natic spectatorship feel like? V•lhat are the possible ~affective din1ensions of representing this traun1atic scene in Chicano history? V\1l1ile 1nany of the brief nonfiction accounts I 1 1ave highlighted here fron:1 historians, scholars, and journalists, fran1e their stories' identification v.>ith the young Mexican An1erican n1en prin1arilythrough violent inoments of victi111ization, fictional exa111ples fro111 literary and cineinatic forn1s, as \\'ell as filn1 studies scholarship, allov1• s for 111ore sustained e11gage111ent not only \'l• ith character develop1nent but \\'lth then1es that exa111ine the nature of identification as it is enacted inside and ~outside of the inovie theater . This page is tagged by: Notice mo11ie bill visible at the photo's top edg<e June 7. 1943 on Main Street Cro\\•d forn1ed around the after1nath of <111 attack l Iconic AP i1nage of attack 1st Night Rioting l,- Subsequent Nights ~Rioting Echo Park - n ~· ~ ~ ~ J ri - " t iJ ... • , • ~ • \ " Boyle Heights - 1st Night Rioting ~ Subsequent Nights ~Rioting .... --------------.... ~~~ ~ I.~ . .. • 1 vr'-.\..1 .- ~ 1 1 i l'ft ~ ~· .. manifested physically and violently as spectators 't\'ere literally dragged fron1 their potential seats of identification and beaten on the city's public streets during this \V eek i11 Jm1e 1943· Ejected fro1n theaters, they \<Vere thrown out onto the streets of Alpine, Figueroa, Hill and Broad"•ay. vVhat did the experience of this disruption of cine1natic spectatorship feel like? V\~hat are the possible @ affective din 1e1isions of representing this trauniatic scene in Chicano history? \Nhile n1any of the brief nonfiction accounts I have highlighted here from historians, scholars, and journalists, frarne their stories' identification w'i.th the young Mexican American men primarily through violent 1noments of victi1nization, fictional examples from literary and cinematic forms, as \\'ell as fihn studies scholarship, allo\'\'S for n1ore sustained engagement not only "'ith ch;u:acter develop1nent, but \V ith then1es that exanline the nature of identification as it is enacted inside and fDl outside of the movie theater. This page is tagged by: Notice movie bill visible at the photds top edge June 7, 1943 on M.;iin Street Cro\'Jd formed around the aftermath of an attack I Iconic AP image of attack This page is a tag of: • Cro\'Jd fanned around tl1 e afterniath of an attack • Iconic AP in1age of attack (( Continue to «Ejected Spectator: Challell5llUQ Representations" • Powered by Scalar I Terms of Service I Privacy Policy I Scalar Feedback 1st Night Rioting l,- Subsequent Nights ~Rioting Echo Park n • I Boyle Hei hts ~.:r:~ · 1st Night Rioting ~ Subsequent Nights ~Rioting @ 1 l ~ ~ ~ ii(. " 1' kl' PACHUCOGOESTOTI-iEMOVIES(11/17) Ejected Spectator: Challe, nging Representations @Pancho brushed NancyJ s ear with his lips and at that mo1nent a blou.J cut through the chest of the hero projected 011 the screen like a knife. The theater iuent black ... The above epigraph conies fron1 the short story "iA que ludo de la cortina?" (On \'.'hich side of the curtain?), \'.iri.tten by Chilean writer Fernando Alegria. @ First published in 1956 it portrays one experience of t11e Zoot Suit Riots through the perspective of Pancho, a fourteen -; ear-old Mexican Alnerican teenager. Pancho is representative of 1nany second generation Mexican Ao1erican.s caught up in the sensationalist headlines that don1i11ated local ne•.vspapers during this period, \Vhich n1ost significant for this study includes the riot, but iilso in the news coverage surrounding the deat11 of Jose Diaz and the~ Sleepy Lagoon Case. In contrast to the one-din1ensional in1ages found on the covers of the ~ ~ ~Herald Examiner and the Los Angeles Tinies of Mexican An1erican youths a.s crirninals and rioters, Alegria anirnates a "concrete historical context" (Nladrid Barela 38) for Pancho's story . The reader is given specific details about his life, experiences and n1otivations. For instance, Pancho lives in San Gabriel, he attends high school, and he gro>vs his hair out in order to blend in '\i.th his generation' (11). It is this san1e 1notivation t11at leads to his purchase of a zoot suit, co111plete i.vith a crean1-colored jacket vrith giant shoulders. Pancho also buys the suit in order to impress his ,.,,hite Alner:ican girlfriend, to hold "the gaze of Nanc) in the school halhvays." _A.$ Pancho's everyday life is being described in "iA que !ado de la cor·tina?" the narrator reflects \vith an exclarnation, "iAl1 silo viera Ginger Rogers! Quiero decir silo viera tal co1no es @ (If Ginger &agers could see hiln! I mean if she could see hhn as he really is)." Alegria elaborates on the image of Pancho being circulated on the cover of El The Los .4ngeles Tinies and other ne,~13paper accounts fron1 the time, specifying that this n1isleading huage portrays Pancho. and the other young Mexican A1neric.a.n rnen like hilu, as "a bandit •vith black hair. a crooked n1out11, a scar on his cheek, and an inferiority con1plex." A fuller representation \vould focus 011 0 Pancl10 of three in the afternoon,' or "Pancho of Broad•Nay," \ •tho is neither tall nor short, · ¥itl1 curly black hair, dark, sad eyes and a thick inouth \V ho wears a knee--length j acket, black pants with \\·bite cuffs i-olled up tight to re,·eal colorlul socks. Pancho \\'ho takes his girlfriend to the 111ovies. HEnry Leyv~s and ather Sleepy L agoon Defendants Soun:e: TBD Collection descriptian: Police line-up. male gang members fgraphicl Source: Herald E"xaminer Co!!eetion (IAPL} 1st Night Rioting &,. Subsequent Nights ~ ioting • Echo Park • ·~ f I Boyle Hei hts 1st Night Rioting ~ Subsequent Nights ~Rioting @ 1 l ~ ~ ~ ii(. " 1' inferiority complex." A fuller representation \vould focus on "Pancho of three in the afternoon," or "Pancho of Broadv.-ay," Vl'ho is neither tall nor sl101t with curly black hair, dark, sad eyes and a thick inouth \V ho v.iears a Imee-length jacket, black pants \\':ith ,,·hite cuffs rolled up tight to reveal colorful socks. Pancho ,,·ho takes his girlfriend to the n1ovies. The story begins inside of the rnovie tl1 eater as the hvo teenagers 'Watch a \V ar fihn stan·:ing ~Gary Cooper and Irene Dunne, eagerly a'.vaiting the screen couple's final kiss, so that they rnay i1nitate this amorous display in real life at the Bijou Theater in Do\vnto,~11 Los Angeles. They caress and touch h1 their seats until the shock of the sailors' attack shatters their ro1nance. The violent interruption is described in vivid detail fron1 their perspective .• !\fter the 1nitial shock, the story fractures. Bytbe story's end the 1novie theater setting has returned, but this tilne v ;•ith Pancho's assailant, a i·ed-haired sailor, enjoying the darkness of tl1e n1ovie theater as the next fibn begins. The ri.oleut interruption of the soldiers and sailors fractures not 0111) Pancho and Nancy's ro1nance as a scene of cinernatic spectatorship, but also the story's forn1al structure through a shift in the character that frarnes the sto1y's perspective. Just as the "blo'I>\' cut{s] througl1 the chest of the h. ero projected on the screen" as Pancho and ancy v;atch in the Bijou, so too is the protagonist of the short story a1111ibilated through Pancho's defeat and hun1iliation .. "C:A que lado de la corti11a?" incorporates this eJ..'Peri1nentation " 'ith perspective throughout the stor) by contra.sting the narrative about Pancho's everyday eJ..'Periences and drean1s at school, at the depa11Jnent store, at the i:novie tl1eater '.vi th ne'\'\• spaper headlines covering the riots. For exarnple, after a vivid description of "'hat the inside of the 1novie theater feels like -- w'ith the "sound of blood and of collective digestion" quietly heard in the background, toasted peanuts and che"ing gun1 Uttering the ground - the following line interrupts an other.vise evocative scene of . . 1nov1ego1ng: @J "It is esti111ated that roughly thirty thousand l 'W'e.xican youths and hoenhJJive thousand black youths dress as pachucos in Los Angeles." Other lines v.• eaYed throughout the story, include: "Jn long caravans of taxis, jeeps , and private car.s, toured Mexican neighborhoods , ar1ned. w i.th sticks and gloves"/ "He broke the jaw of a hvelve-year-old Mexican boy" / ''Pachucos stripped, kicked on ~ the ground.'' The lines den1onstrate how· the Yiolence of t11 e riots n1ay have been sumn1arized in ne\vspaper reports and also den1onstrates the '.Vide gulf between the lived experience of a so-called pachuco and hov1 ' he 1nay ibe depicted as a statistic or stuck in a narrative of violence and true crhne in ~conte111poraneous mainstrearn inedia reports. Collecti<:>n description: Police line·up. male gang members [graphic] Source: Herald Ex.;minerCo!lect;on {LAPL} From Sleepy Lagoon coverage in Herald Examiner. young men waiting in court house hall Collection description: Police line·up. male going members [gr~phic] Source: Herald Ex.;miner Col!ect;on (lAPl) DETAILS CITATIONS SOURCE Mexic:mAmerican yooths del.3ined for questioning from Los Angeles D~ily News, 1942 Source: Los Angeles n.,nes ........................................ llllllll!!llm ............... & I 1st N lght Rioting &,. Subsequent Nights ~ ioting • Echo Park • n - '1 I) lJ ... ; • ~ • \ \ Boyle Heights 1st Night Rioting 10~ ~~ ~Subsequent N1ghts 1 th.... · ~Rioting 7 .... --------------~~~~ ~ '-~ . i vr'\..\J _ contrasting the narrative about Pancho's everyday e>.'Periences and drea1us at school, at the departinent store at the n1ovie tl1eater \V ith ne\•.rspaper headlines covering the riots. For exa1nple, after a vivid description of \V l1at the inside of the ino\ ie theater feels like -- v.ith the "sound of blood and of collective digestion" quietly heard in the background, toasted peanuts and che,. ving gmn littering the ground - the follo\ving line interrupts an other1N ise evocative scene of . . ino1r1ego1ng: @J "It is estin1.ated that roughly thirty thousand 1 '1e:.rican youths and hvenhJ-fiue thousand black youths dr·ess as pachuoos in Eos Angeles. " Other lines y,r eaved throughout the story, include: "In long caravans of taxis, jeeps and private cars, toured Mexican neighborhoods, anned \\'i.th sticks and gloves"/ "He broke the jav.• of a t\velve-year-old Mexican boy" / "Pachucos stripped, kicked on ~the ground.'' The lines de1nonstrate ho\v the violence of t11e riots nta} have been sun1111arized in newspaper reports and also demonstrates the '.\':ide gulf betv1 een the lived experience of a so-called pachuco and 11o·w he 111ay be depicted as a statistic or stuck in a narrative of violence and true cri1ne in @contemporaneous n1ainstrea.n1 1 nedia reports. (( Continue to «Ejected Spectator: Challelll>'w.o Representations II" • P<Jwered by Scalar I Terms of Service I Pr ivacy Pol icy I Scalar Feedback Collection descrrption: Police line-up, male gang members !gr;ipfiicj Source: Herilfd Exilminer Colledion {lAPL) MeKican Americal'lyouths detained for questioning from Los Angeles Daily News. 1942 Source: Los Angeles Time5 An evacu;;tion from impending Japanese attack in World War 11 set in Dutch East Indies. Starring Gary Cooper and Loraine Day Source: Internet Archive 1st Night Rioting L,, Subsequent Nights ~ ioting Echo Park n - " ~ iJ • , • • Boyle Hei hts 1st Night Rioting ~ Subsequent Nights ~Rioting @ ~ ~ ~ ii(. " 1' PACHUCOGOESTOTI-iEMOVIE5 (12/17) Ejected Spectator: Challe, nging Representations 11 1 Among the expansive nun1ber of sociological and fictional accounts that poru·ay the events of the Zoot Suit Riots fro1n the 1940s and 50s, Alegria's story stands out not only in its aiin l:o "hu1nanize" the pachuco, but also in formally experhnenting \\rith contrasting the "pachuco's" lived e..A'Periences and representations of the pachuco. In her book ~An1erican Me, Beatrice Griffith uses a si1 nilar approach of alternating ben-.een the official record captured in ne\\·spaper accounts a.nd her o"•n speculative retellings of the events ( \'\'hicl1 .,~·ere based on 1.ntervie\\'S conducted as part of her research as a social '"orker). Published five years after the Zoot Suit Riots, this work predates the publication of Alegria's short story. Griffith \'\• eaves together sociological fictional, econon1ic and historical accounts to portra~ the e>.'Periences of Ivlexican A1nericans during the 1930s and 1940s in L-0s_.!\ngeles. Her narrative alternates ben\·een intervie\\i S with her researdaptations of interviews \Yith her and presuinably this appr.r and \Vriter Antonio Viego has refraining of Latino studie"esumaibly this approach, as both e>.'Uerj1nentatio11 in eQ.)1:a,_g88). Perhaps this is true forViego's refraining of Latino studies through Lacanian psychoana1 ysis, and vice versa - but for its forn1al e;.,,1Jeri1nentation in engaging with this generation's history and sociological context, it is quite innovative for its time - atteinpting to preserve aspects of Mexican }1.111erican youth culture largely disn1issed inn1ainstream accounts. vVhile Griffith's project does depict the Zoot Suit Riots in sorne detail, Alegria's short story raises questions more pertinent to this srudy. "iA que lado de la cortina?" is unique in ho\v evocatively it conjures the coinplicated relationship a fiie..-..::ican A1nerican teenager 1night have w'ith Alnerican popular culture in 1943. Alegria describes the centrality of Alnerican popular culture in Pancho's eve1yday life, froin the _i\rnerican 'var fihn he v.r atches to his notions of \Vhat being Gary Cooper or living in the suburbs iuust be like, complete v.·itl1 Tarzan stories on the radio and an Oldsmobile i.vaiting in the drive\\'ay . .tJegria's portrait of Pancho reveals a network of subjective experiences in the individual and collective violence launched during the riots, but it also deu:ionstrates the conflicting n1echanisn1s of identification and disidentification ,.,'ith Holly;,\·ood na1Tatives that 111ark acts of cine1natic spectatorship during this period .• i\s Pancho vratches Gary Cooper stru,gg1e with his desire for ~Ginger Rogers on-screen, l1 e is able to nibble on the neck of his o\vn blonde-haired, blue-eyed starlet in Nancy. It is explained that Nancy is drav•n to Pancho's "bro,v11 and silky skin," and \'l'hile his nroiection of GinJ!ier Rogers onto Nancy is obvious, the " ) ti..U/ 1 THE SMOKE Illustration oo cover lbr ·The Smoke" ~ection of Griffith's AMERJCAN ME Scwn::e: Be;,trice Griffith, Americ.,n Me_ Reprinting (origin;illy published 1948). Westport· Greenwood Publishing Group, 1973. 1st Night Rioting L, Subsequent Nights ~ ioting • Echo Park " - ll ~ 'J .. ; • ' ~ $T. \ ')I! ~ Boyle Heights 1-" vr., 1st Night Rioting ¥~ • 17 '>: Subsequent Nights ·>. Rioting ·ty~ ,_----------~~~ ~ A . ...r 1 1 context, it is quite innovative for its tin1e - atten1pting to preserve aspects of lVIexican An1erican youth culture largely dismissed in 111ainstrean1 accounts. While Griffith's project does depict the Zoot Suit Riots in some detail, Alegria's short story raises questions more pe11inent to this study. "<iA que lado de la cortina?" is unique in hovv evocatively it conjures the con1plicated relationship a Mexican An1erican teenager n1ight have \Vi th An1erican popular culture in 1943. Alegria describes the centrality of An1erican popular culture in Pancho's eve1yday life, fron1 the An1erican \V ar filn1 he \\ratches to his notions of \V hat being Gary Cooper or living in the suburbs 111ust be like, con1plete \\iith Tarzan stories on the radio and an Oldsmobile \vaiting in the drive\vay. Alegria's portrait of Pancho reveals a net\\•ork of subjective experiences in the individual and collective violence launched during the riots, but it also de111onstrates the conflicting 111echanisms of identification and disidentification \vith HollY'vood narratives that 111ark acts of cinen1atic spectatorship during tl1is period. As Pancho \\rat ch es Gary Cooper struggle \\• ith his desire for ~Ginger Rogers on-screen, he is able to nibble on tl1e neck of his ow ·n blonde-haired, blue-eyed starlet in Nancy. It is explained that Nancy is dra\vn to Pancho's "bro\\'11 and silky skin," and \vhile his projection of Ginger Rogers onto Nancy is o b\iious, the sto1y also reveals ho\\' Nancy, as a young girl, played \\ii th dolls "dressed as bullfighters, dra\vn \vith long lashes." Boili Pancho and Nancy are filled \\iith desires influenced by popular cultural representations. The 111ovie theater is therefore an ideal place to dramatize their desires, drean1s, and their sudden transformation into terror. Illustration on cover for .. The Smoke" se,tion of Griffith's AMERICAN ME Source: Bedtrice Griffith, Americ<Jn Me. Reprinting(originally published 1948). Westport: Greenwood Publishing Group. 1973. A still portrait of .3ctress Ginger Rogers issued by a movie studio in the 1930s. Source: Wikimedia Commons In Alegria's story, the scene of entertainn1ent is 111oved from inside the n1ovie theater out\vard to tl1e city street and side\valk. In this sto1y, instead of being cast in a role sin1ilar to the one Ga1y Cooper plays in the fihn he and Nancy \V atch on their date, Pancho is cast as the villain \V ho offends \\ra11ilne jingoisn1. v\lithin this na1Tative, spread across the ne\vspaper front pages in 1943, racist logics prevail and Pancho becon1es an object of ridicule and abuse. « • @"Spectators sat on the rooftops of auto1nobiles and on stopped streetcars. Like joyous exhalations, photographic flashes eruptedfron1 the n1iddle of a croiud ... The cro1ud let out a howl of satisfaction. Old iuomen noiu rubbed shoulders ivith the sailors and tried to get to the first roiu, ivhen the undergar1nents began to be destroyed." Continue to "Ejected Spectatorship I: Race, Gender, and Space» It. Powered by Scalar I Terms of Service I Privacy Policy I Scalar Feedb.;ick ~ - 1st Night Rioting L,,. Subsequent Nights ~Rioting Echo Park • PACHUCO GOES TO THE MOVIES (13/17) Ejected Spectatorship I: Race, Gender, an, d Space, A theoretical approac11 reaching its highest popularity in the 1970s, filn1 theo1y around spectatorship and the cinen1atic apparatus brought together psychoanalytic and se1niotic approaches to explore the charged relationship between the cine111a spectator and the screen. ln this type of analysis, fihn content beco1nes nearly irrelevant, as '"'ilB the case in Christian Metz's article "The I111aginaI) Signifier" fro111 1975 .• .!\pplying Saussw·ean semiotics and Lacanian concepts to fihn theory, 1"Ietz proposed that it is not only the cine1natic "signified," i.e. a fibn's content, its narrative, audio-visual composition, \\'hicb is in1aginar.y in cinen1a; the signifier, cine1na as a systen1 and/ or apparatus is also imaginaiy - producing different levels of identification for the spectator n1odeled on Lacanian psychoanalysis. Through Metz's "l1naginal}r Signifier," the spectator beco1nes an on1niscient, all seeing subject - primarily identifying \\ith hirnself percei\ing, and secondarily identifying 11\ith the characters po1trayed on the screen. '"'11.ile this cursory sunm1ary only begins to hint at the debates in fi1n1 studies stirred by the contxibutions of spectatorship and apparatus theories inost significant for this section is no\v Metz focused on the perceptual and psychic dirnensions of identification :involved in acts of cinen1atic spectatorship. \• \111ile early on Laura J)..1ulvey protested the totalizing nature of apparatus theories such as Metz's, \Vhich ignored the influence of gender on any levels of identification, challenges to this conception of spectators hip began to proliferate in film and 1nedia studies ¥ .ritl1 111ore frequency in the late 1980s. Particularly pertinent for this project are refran1ings of film spectatorship that address the in1pact ofrace and ethnicity on identification. Focusing on ~black men as spectators, Manthia Dia\vara;s article "Black Spectator.ship: Problen1s of Identification and Resistance," (1988) outlines a "heuristic device" encapsulated in the interchangeability of the tenns "black spectato1·" and "resisting spectator." Though tl1is is not n1eant to in1ply an exclusive relationship bet\\• een the rn·o, Dia,vara interrupts the previous theories of spectator.ship that describe the position of the spectator ,. ,ith "recourse to the psychoanalytic account of [Lacan's] inirror phase." While Dia\\ara ineans "black rnale spectators" in this article 1.vhen he \\'lites "black spectators," his criticis111 against apparatus theory :is significant for 111arginalized spectators generally. Consider the follo\ving construction's usefulness in understanding black fen1ale spectators, Cbican@ spectators, p.achuc@ spectators: "spectators are socially and historically as well as psychically constituted" (846). He continues by pointing out the lil1ritations of theories like Metz's for tl1ese racialized gendered or sexualized spectators, "it is not clear v>hether tl1e experiences of black spectators are included in this analysis." For Dia\•rara, ho\\'e' er his analysis is invested only in exploring the "racializ.ed" co111ponent, or inore specifically the e>.1Jerience of the "black [@ n1ale] spectator." In Black Looks (1992), bell hool~ ' chapter on "The Oppositional Gaze" n1ade an ilnpo11ant intervention to theorizing the "black spectator," accounting for the "~black fe111ale spectator." hooks' "oppositional gaze" objected both to the rigiditv of theories around niasculine spectatorship, PM aipt ion: "This is a Washington movie house before the show began. The p;irtition keeps t he colored :and whit e people ap;irt:• Source: lntemation.oi Center at Photography, Weege<" Collection (Getty lm~g<"s} Dia'.\'ara inten'llpts the preYious theories of spectatorship that describe the position of the spectator ";th "recourse to the psychoanalytic account of [Laca:n's] n1irror phase." While Dia\\'ara ineans "black n1ale spectators" m this article ,. vhen he "rrites "black spectators," his criticisn1 against apparatus theory is significant for n1arginalized spectators generally. Consider the follo\v:ing construction's usefulness in understanding black female spectators, Chican@ spectators, pachuc@ spectators: "spectators are socially and historically as \\Tell as psychically constituted" (846). He continues iby pointing out the lin11tations of theories like Metz's for these racialized gendered, or sexualized spectators, "it is not clear \ 1 vhether the e;,.'})eriences of black spectators are included in this analysis . . " For Diaw·ara, ho'· ''ever, his analysis is invested only in ex'J)loring the "racialized" con1ponent, or more specifically the e;,.'J)e1;e11ce of the "black [@ n1ale] spectator." In Black Looks (1992) bell hooks' chapter on "The Oppositional Gaze" n1ade an hnpo11ant intervention to the-0rizi.ng the "iblack spectator," accounting for the "' IElblack female spectator." hooks' "oppositional gaze" objected both to the rigidity of theories around n1asculine spectatorship, represented here by Dia>\ara's "resistant spectatorship " as \\'ell the lacunae of feminist theories of the gaze and spectatorship, \Vhich focused exclusively on gender through the perspective of \\'hite ,\·on1en, ignoring race and class as influences on the spectat-0r's experience. With the "oppositional gaze," hooks described ho\v looks and the act of looking are fraugl1t for black fe1nale spectators, en1bedded in 1."elations of po\ver and subn1ission in a \Vhite supremacist society. For their radical interventions, botb Diaw· aJra and hooks prhna.rily focused on spectator:ship through the individual's relationship to film content, paying little attention to tl1e site of the movie theater or tu the @ social cli1nensions of the moviegoing experience. (( • Continue to llEjected Spectatorship II: Migramt Spectator" lit Pvwered by Scalar I Terms of Service I Pr ivacy Policy I Scalar Feedback PM caption: "This is a Washington movie house before the show began. The partition keeps the colored and white people apart. " Sourre: International Center of Photography; Weegee Collection (Getty Images} New York, 1943 (photo: Weegee) Source: lntema tfonal Center of Photography, Weegee Collection (Getty Images} • The significance of 111oviegoing publics for this topic \.vould be taken up later by fihn scholars researching the histo1y of specific regional and transnational cine1na audiences and their i1nportance for considering racial and ethnic spectatorship. Influenced by .studies in ne~v film history, these fihn scholars and historians asse11 that \\"hile race, gender and class n1atter in @ researching spectatorship, so does .space, place and nation. In Migrating to the Movies Jacqueline ajunia Ste-..\'art explores "Elack spectratorship and the perfonnanoe of urban 1noderni.ty" in proposing ho'" Black audiences 111igrati.ng fi·on1 the South of the United States to urban cities in the North negotiated the contradictions of cinen1a as a "contested discursive and physical space in ¥. 1 hich n1igTating Black public spheres \\'ere constn1cted and interpreted" ( 4 ). Focusing on the Great Migration in t11e period around World 1i1 Var I, Ste'\>\'art docu111ents ho\v these contestations functioned for audiences of Black subjects \Vll.o ucould see and be seen in 111odern \.\'ays" in Chicago's n1ovie theaters. Stevv a1t proposes the concept of "reconstructive spectatorship" to investigate these engagen1ents 11t.rith 111oden1ity, "dra\v[ing] on the notions of f]u1dity, negotiation, heterogeneity, and polyphony offered by" 1nodels of spectatorship, while accounting for "cinerna's public dilnensions" (100). In Making Cinelandia, ftl111 historian Laura Isabel Serna explores ho'<\' Alnerican fih11s •Nere circulated, consumed and n1ediated in Mexico and the lT nited States by Mexican audiences during the 1920s to forge transnationally inflected practices of n1odernity. While Serna, like Stev,·art, focuses on silent fihns, her descriptions of Mexican fihn cultures on both .sides of tbe border, as ""ell as her exploration of n1igrant / Mexican ethnic spectatorship in this period are relevant for understanding the rnediated experiences of second generation Mexican A1ne1icans during World \'\'ar II. Serna notes that'" bile An1erican fihns \\'ere screened and enjoyed in Spanish-language filn1 theaters both in the U.S. and 1exico, the aggregated experience frequently con1bined then1 witl1 Niexican filnis or pe1for1uances and suoceeded in "linking 1'Iexica11 nligrant audiences to audiences in Mexico" (184). The siruulta11eous engagen1ent ,~·ith Mexican and .t..Jnerican filn1 and entertain111ent, also contributes to a nuanced understanding of ho'<\' n1odernit} is created "\\• ithin these transnational c, ircuits. This is also tlue for other n101nents of n1 oden1ity and post111odernity as they oonti.nued to be experienced on South Broad\vay in Do'wntovv n Los AI1geles late into the 20th centu1y. This confluence of 1 nodern and postn1odern n1odalities of e11.--perie11ce is explored in other parts of this Scalar project. In the last chapter of her book, subtitled "Mexican J_\,figra:nts Go to the Movies," Serna discusses the role that race played in n1oviegoing for 1uany 111exican i111n1igrants across the l nited States. In 1nany Alnerican cities across the countly, rviexicans and Mexican An1ericans learned ~their place in the I r - ,__ _ ___.I J The significance of 1noviegoing publics for this topic \vould be taken up later by fihn scholars researching the history of specific regional and transnational cine1na audiences and their i1npo1 tance for considering racial and ethnic spectatorship. Influenced by studies in ne"' fihn histo1y, these fihn scholars and historians asse1t that \vhile race, gender and class 1natter in @ researching spectatorship, so does space, place and nation. In Migrating to the lv.fouies, Jacqueline Naju1na Ste\vart explores "Black spectatorship and the perfonnance of urban 1nodernity" in proposing ho\v Black audiences niigrating fron1 the South of the T Jnited States to urban cities in the North negotiated the contradictions of cine1na as a "contested discursive and physical space in ,~·hich 1 nigrating Black public spheres \V ere constructed and interpreted" (4). Focusing on the Great Migration in the period around World War I, Ste\\'art docu1nents ho\v these contestations functioned for audiences of Black subjects ,,·ho "could see and be seen in niodern \vays" in Chicago's n1ovie theaters. Ste\vart proposes the concept of"reconstructive spectatorship" to investigate these engage1nents \\'ith n1oden1ity, "dra\v[ing] on the notions of fluidity, negotiation, heterogeneity, and polyphony offered by" 1 nodels of spectatorship, \\'hile accounting for "cine1 na's public ditnensions" (100 ). In Making Cinelandia, fihn historian Laura Isabel Serna explores ho\v Alnerican fihns \V ere circulated, consunied and 1 nediated in l\1exico and the United States by Mexican audiences during the 1920s to forge transnationally inflected practices of 1nodernity. V. 1 hile Serna, like Ste\va1 t , focuses on silent fihns, her descriptions of l.\llexic.an fihn cultures on both sides of the border, as \veil as her exploration of 1nigrant / l.\llexican ethnic spectatorship in this period are relevant for understanding the 1nediated experiences of second generation l\1exican A1nericans during World War IL Serna notes that \vhile Alnerican fihns \Vere screened and enjoyed in Spanish-language fihn theaters both in the l J.S. and Mexico, the aggregated experience frequently cotnbined the111 \~ith Mexican filnlS or perfon nances and succeeded in '1inking l\1exican n1igrant audiences to audiences in Mexico" (184). The si1nultaneous engage1nent \vith Mexican and A1nerican fihn and entertain1nent, also contributes to a nuanced understanding of ho\v 1nodernity is created \V ithin these transnational circuits. This is also true for other 1non1ents of tnodernity and post1 nodernity as they continued to be experienced on South Broad\vay in DO\\'lltO\V ll Los Aligeles late into the 20th century. This confluence of tnodern and postJnodern tnodalities of experience is explored in other parts of this Scalar project. In the last chapter of her book, subtitled "l\1exican l\1igrants Go to the l.\llovies," Serna discusses the role that race played in tnoviegoing for niany l\1exican inunigrants across the United States. In 1nany Alnerican cities across the country, Mexicans and Mexican Alnericans learned "their place in the U.S. racial pecking order" (191). She continues: @That lesson could have been taught in ttuo iuays: through the action on the screen, or in the social space of the cinema itself. For Mexicans in the United States, race typically deterniined which theaters they could enter and where they could sit. Serna notes t11at "at least do\\'lltO\V ll, it see1ns that Mexicans \V ere 1 velcon1e in theaters that catered to Anglo audiences" (204), \v i th "1novie theaters cateting to Mexican n1igrants lin[ing] Broad\vay and Main Street" (202). What the Zoot Suit Riots de1nonstrate is t11at \vhile Mexican Alnerican filn1 audiences \V ere \velconie in these theaters, they \V ere also vulnerable to violence and expulsion - to beco1 ning ejected spectators. It is also no accident that the first theater attacked on June 3 \V as one that catered to audiences of Mexican inunigrants in an ethnic neighborhood, sin1ilar to locations attacked again in the later days of the riot . • !51t Powered by Scalar I Terms of S ervice I Privacy Policy I Scalar Feedback , 11 I • I I .-~~;---~~--~~~ ~ . s= r : 0 MARQUEE SURVIVALS: A MULTI MODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES c V 1.'l:''C,~J !,=,_ F "-.c·E ['~ '. P ? ~ n - " ~ iJ • , • Boyle Hei hts 1st Night Rioting ~ Subsequent Nights ~Rioting • PACHUCOGOESTOTHEMOVIE5 (15/17) Ejected Spectatorship, Ill: Disident. iflcation 111 their studies of fi1n1 cultures co1nposed of audie.nees no longer around to be intervie'l\·ed or share their e:-.')?eriences, both Serna and Ste'>\'C:l.rt delve deep into arcl1h es of fihns, newspaper, n1agazines, sociological studies, and fihn culture ephen1era and vecords .. In addition to \'l'orks based in 111eticulous research, both also turn to fiction to develop a sense of "' 11at n1oviego:ing 1nay bave been like in the thnes long past or at least ho'h· V\Titers portrayed it. In justification of this cJ1oice, Ste1Nart V1Tites: "~ l\fy tun1 to fiction in an effort to recover and describe the dyna1nics of Black spectatorship is not 111ade lightly; it is intended to foreground the methodological difficulties of studying spectatorship in any context'' (95). I use this passage fro1n Ste'.vart, i.n part to defend my O'Nn choice of bringing in fictional and speculative accounts around this dot - portions of Griffith's Anierican l\!Ie and e,specially Alegria's "C..4 que lado de la cor·tina?'' In the epigraph that starts this section, Alegria a11in1ates 1nany questions around spectatorsbip in a short paragraph through the character of Pancho. Pancho both identifies and disidentifies '.\ith the characters played by ~Gary Cooper and GingeT Rogers. On one le' el, he identifies ~vith the ron1ance being played out on scre,en in courting his 0~11 1.'r·hite Alnerican girlfriend 'N ith the resemblance benveen Nancy and Ginger Rogers stated explicitly-- If you see Ginger. she looks like 1'lancy! .4nd how like Ginger doe.s Nancy look! And yet, Pancho can see that he is not like Gary Cooper. He is 1irexica11 and Cooper is white. Cooper wears a navy llllifor1n while Pancho 'vears a zoot suit. Pancho sees CoopeT on the screen, and ',vhile he identifies with his portrayed lust, he also recognizes the gulf bet'lveen bis While The Story of Dr. Wassell (1944) wa:s m;;ide and rele;i.sed after the year of the Zoot SIU it Riots. it is a warn Im featuring Gary Cooper. Also featuring L31'line Day, directed by Cecil B_ OeMille. position and Cooper's position as a national hero . This scene of identific,ation is violently disrupted Vl"hen sailors grab and punch Pancho, draggi11g hiln out onto the cit} street. Pancho is the ejected spectator. Like the narratives recounted earlier, the young rviexican _!\lnerican teen is pulled out of the n1oviegoing scene of identification or disidentification; ejected physicall) , discarded syrnbolically. \'\lliile a n1ovie like Zoot Suit, explored in the "Sense of Pachuca" Scalar section, portrays this ejection in an atten1pt to recover and suture the subject back into a \¥bole ethnic identity, by addressing the Mexicai1A!nerican n1ale spectator specifically, this project is inore interested in that act of ejection and. what it inight reveal about racial and ethnic spectaltorship during the '.varti111e period. Fron1 this era in . An1erican histol') here is another fictional account of an ejected spectator, though this exa111ple represents psychic torment rather than explicit physical violence. If He Hollers, Let Hiln Go (1945), the canonical African Alnerican no ·el \vritten by Cbester Hi111es, is set in Los Angeles during tbe \'l'ar. The sto1y portrays the unsettling period of tilne in the life of shipyard worker iBob Jones, a blackAmeirican 'vho recently 111oved to Los Angeles froni Cleveland. Narrated in the first person, Hin1es vividly e;...rpresses Bob's frustration and illnger illt the racisn1 he experiences . . The novel opens Vl':ith Bob elaborating 011 the insidious and subtle fonns of racisn1 he encountered in the city. For exan1ple, describing ho\v it felt to seek en1ployi11ent: ''@It u1 asn't being refused e1nploy1nent in the plants so 1nuch ... it ivasn't that so • T • • 1 1' "1' ' ' ,. 1st Night Rioting L,, Subsequent Nights ~ ioting Echo Park • n • ' • Boyle Hei hts 1st Night Rioting ~ Subsequent Nights ~Rioting Gl ~ ~ ~ ii(. -0 1' • worker Bob Jones, a blac:k.Arn.erican \Vho recently 1110 ed to Los Angeles fro111 Cleveland. Narrated in the first person, Hi111es viyidly ~'-'Presses Bob's frustration and anger at the racisn1 he experiences. The novel opens 1vith Bob elaborating on the insidious and subtle fonns of racisn1 he encountered in the city. For exan1ple, describing ho\v it felt to seek employinent: "~It iuasn't being refused e1nploy1nent in the plants so 1nuch .. .. it luasn't that so much. It ivas the look on the people's faces when you asked the1n about a job ... As if so1ne friendly dog had co1ne in through the door and said, I can talk.' It shook n1e" (3) . Bob also describes being disturbed by the sudden intenunent of Japanese An1ericans during the \V ar, 1ovhich he sees as a sigu of the dangers and tlueats posed to racialized subjects by the city's racist practices. \'Vhile Hin1es addresses the Zoot Suit Riot else'Nhere in the novel, 1t is a b1ief scene at a inovie theater that n1ost ex.'Plicitly invokes the figure of tl1e ejected spectator. Becorning upset after a series of tense encounters in a bar, then :a drugstore· , Bob \Valks around do"vnto\vn preparing to )'."atch a inovie. ''\'alking past Bullock's depa.rtn1en1t store, sidev;alks packed \vi th pedestri.a:ns Clnd other 111ovie theaters, he finally takes a seat at the Loev/ s State Theater. "\>\7hile settling in the audience, Bob sits do"'l1 ne>..'t to t\vo •¥hite couples. One of the couples trades seats so that the \¥0111a.I1 of t:he couple does not: have to sit next to Bob. After this incident, Bob is so demoralized by the con1pounded blo\\' of having tl1e filn1 feature "a big fat black Holl;'\ovood manuny," that he \valks out of the theater. ' @I never found out the nature of the picture or ivhat it ivas about. After about five n1inutes a big fat black Hollyiuood 1nan1niy ca1ne on the screen saying: 'Yassuni' and 'l•loam, and grinning at her young iuhite n1issy; and I got itp and iualked out" (79). This scene inm1ediately calls to 1nind Dia,vara's concept of the resisting spectator . . Unable to passively receive the I"acist caricature depicted on screen, Bob is con1pelled to leave. Ho,vever at least in the article cited here, Diav·;rara focuses on black niale reception ofin1ages of black 1nen as villains. In the 1noviegoing experience Himes portrays here tl1e caricature of scorn is a "111an1111y" charactel", siinilar to the controversial roles Hattie McDaniel is re1nen1bered for. Bob refuses to identify •.vith a racist caricature ren1ovi.ng hilnself voluntarily fron1 the theater. Ho\vever, the disruption the caricature introduces in Bob's viev>ing is portrayed as a so1t of psychic attack; an unexpected and un..,,·anted attack on blackness. TI1e specificity of this character as a " 111a:i11111y," nevertl1e1ess, is significant in its difference frorn Dia\vara's criticis111 of Bi1th of a 1'•ration and The Colo1· Purple in "Blackspectatorship," in,, ·hich he focuse.s on t:v i.•o scenes depicting black inen as represented threats of sexual assault. By choosing a "mannny" figure, Himes places the sha1ne and burden of repre.sentation on black \Vomen, perhaps one instance that confirn1s accusations of c:ID Hin1es' multi-faceted proble1 11s \\ith ,,·omen. Significant for this study is that it is not exclusively the content of tl1e filn1 that triggers Bob's leaving the 111ovie theaiter nlid. scene. leading up to the appearance of the offending servant caricature Bob 1nust contend '"ith a subtle gesture of racis111 (lvhat inight now be called a 1nicro-aggression) in the couple's shuffling of seats to keep Bob as far fro1n tl1e ,. v hite won1a.I1 as possible. This discri1ninatory social act \\ithin the theateJ', co1npounded by his eJ..'Periences outside the inovie th<>:.t<>r - th<> <>::1rli <> 1· <o1111h ;., 1st Night Rioting L,, Subsequent Nights ~ ioting Echo Park ........ ~ll!!llll~~----------------~~~ ~~----lll!l!ll!lml ........ ll!lll!l .. ~~ ....... lml!l .. ~--11111!~--mll!l!ll!ll .. ~~----------------------------------lml!l~lll!ll!I----..... ~--~-. ................ ~. ~ passively receive the racist caricature depicted on screen, Bob is compelled to leave. Ho1vever, at • - l.l ' .. • r ~ $T. \l~: least in the article cited here, Dia1\•ara focuses on black n1ale reception of i111ages of black n1en as ~~l; villains. In the 1noviegoing experience Himes porh·ays here the caricature of scorn is a "n1a111n1y" .. ~ .: ·.~. character, si111ilar to the controversial roles Hattie l\!IcDaniel is re1ne111bered for. Bob refuses to .. identify 1 \itl1 a racist caricature, re111oving hiluself voluntarily fro111 the theater. Ho1vever, tl1e lli disruption the caricature introduces in Bob's vie\\ 1 il1g is portrayed as a sort of psychic attack; an a\...I 1 une.iqJected and un1vanted attack on blackness. TI1e specificity of this character as a "111a1nmy," '1i fl '£, nevertheless, is significant in its difference from Dia1vara's criticis1n of Bilth of a Nation and The ,;.Jiii· , ~ £ Color Purple in "Black spectatorship, » in 1 vhich he focuses on tlvo scenes depicting black 111en as represented threats of sexual assault. By choosing a "man1n1y» figure, Himes places the shan1e and CJ burden of representation on black 1vo1nen, perhaps one instance tl1at confirms accusations of \ '1! ~ Boyle Heights 1()h· 1st Night Rioting ·~ * 17 6':' Subsequent Nights A Rioting · lff ii ,_ __________ ....... ~~ ~ .......... ji! @ Hin1es' 1nulti-faceted problen1s 1 vith 1 vo1nen. ~ ~ ~ 0 r •· Significant for this study is that it is not exclusively the content of the fihu that h·iggers Bob's leaving the 1novie theater 1nid scene. Leadi11g up to the appearance of tl1e offending servant caricature, Bob 1nust contend w·ith a subtle gesture of racism (1vhat 111ight no\\' be called a 111icro-aggression) in the couple's shuffling of seats to keep Bob as far from the 1 vhite 1 \•oman as possible. TI1is discri111inatory social act \\rithin the theater, con1pounded by his experiences outside tl1e n1ovie theater - the earlier snub in service at a do1\'!Ito1vn drugstore, the disdainful look tlvo Mexican Alnerican 1 vomen give hi1n on Seventh Sh·eet 1 \ralking to the theater - West side of Broadv1ay, looking north toward Seventh Street, L os Angeles, ca.1940-1949 Source: C3fifomi3 Historical Society Collection. 1860-1960 (USC Libr3ries Speci3/ Collections) influence ho1,· he then identifies 1 vith the content projected on the screen. As he sits in the audience of l!:!J Loe1\"s State TI1eater, @1vatchiug a racist scene, he is "socially and historically as 1 vell as psychically constituted» (@ Dia1vara 846). In this scene, the refused identification 1vith a black character 111atters not only because of tl1e offensive filn1's content, but also because of the social context of discri1ni11ation (along racial, gender and econo1nic vectors) that shapes tl1e site of reception for "socially and historically constih1ted" spectators. To bring Hi1nes 1nore e><-plicitly mto conversation 1vitl1 the Zoot Suit Riots, though Bob has au antagonistic encounter 1 vith lVIexican A111erican \\'0111en on the street outside of the 1novie theater (uusurprisingly antagonism grounded in gender difference tinged 1 vitl1 sexual anxiety), he fonns a relationship \\itl1 t1,·o kindred pachucos at the story's end. (( Continue to "Identity Produced Within Representation" • It. Powered by Scalar I Terms of S ervice I Privacy Policy t Scalar Feedb.;ick 11 ;;-.\ ' Jyle Heights Tox 1st Night Rioting rty 1 6~ Subsequent Nights 1)\ . • Rioting '"f ii __________ ....... ~.,.,. ~ ... ,,.,,,, Echo Park :n ' • ton ~1e yo $1'. Boyle Hei hts 711.h, ~- 1st N lght Rioting ~ ~ .,>-. ~ Subsequent Nights 1 1h~ · ~Rioting 7 ....... --------- -- ----·~~ ~ \..4 -~---·'· PACH UCO GOES TO Tl-IE MOVIES ( 16/17) Identity Pro 1 duced Within Representation .!\fter being jailed on a false rape charge, Bob 1s released on the condition of joining the ArnI} . The sto1y concludes with Bob being transported to the recruiting station \o\ritb n.vo young Me;..ican American inen dressed in drape pants, the lo\ver half component of the zoot suit. "The sergeant didn't even look at nie; he called over to a cop by the door in a bored, indifferent voice, Here's another soldier. ' "Come on, boy,' the cop said." ''The tiuo Mexi.can youths he had ivith hi1n grinned a welcorne. ,, ''11iey ivere both broi. un-skinned, about my colour, slender and slightly stooped, ivith Indianfeatur~es and thick curly hair. Both 1vo1·e bagged drapes that looked about to fall dotunfrom tlzeir ivaists, and greyish dirty T shirts. They talked in the nielodious Mexican lilt." ''11iey fell in beside me and iue iuent out and started up the hill toivard tlze induction centre, the three of us abreast and the oop in the rear." ( 203) Stuart Hall .... ,rites in his article "Cultural Identity and Cinen1atic Representation" about the i111po1tance of separating cultural identity fro111 son1e «esseutialised past," that "instead oj'thinking of identity as an already accon1plished historical/act, ivhich the neiv cinen1atic discourses then represent, ive should think, instead, of identity as a 'production ', iuhich is never complete, ahvays in process, and alivays constituted iuithin not outside, representation.' (68) These scenes of reception and spectatorsltip demonstrate not only that n11oviegoing was fi·aught ''Ii.th vulnerability and danger, both physical and psychical, but that it was practiced social1y, spatially, a.nd racially. The Sense of Pachuca section in Scalar further explores ho\\' these factors, along · with gender and sexuality, also influence hov 11 this event vl'·as 1nediated as history. !. Powered by Scalar I Terms of Se rvice I Pri11acy Policy I Scalar Feedback r I 1yle Heights 7bh 1st Night Rioting :,Y" 1 .,,. Subsequent Nights ~ . · Rioting ~"I ------------·~~ ~ \.4 . ..-: Echo Park j n ~c~ Jn BJ:.., on I Boyle Hei hts :N~~ · 1st Night Rioting ~ Subsequent Nights ~Rioting Q 1 i l " ~ ~ ii(. " 1' kl' PACHUCOGOESTOTHEMOVJES (17/17) Bibliography fo, r Project. ing 1943: Pachuco Goes to the Movies Pri1nanJ Sources 01·aJI. History 1irvVilliains, Carey. Honorable in all things oral history transcript: the 111en1oirs of Carey 1'1cl¥illianzs. Intervie'v by Joel Gardner. Transcript, July 13, 1978. l niversity of Californi.a, Los Angeles, Oral History Progran1. http://content.cdlib.org/vie\\'? docld=ft21113nbo8v&brand=calisphere&chunk.id=meta. Periodicals (N e\vspape1· .and Magazil1e Articles) After All, '\>\T hy Call Zoot Suiters Anything." Los A.ngeles Tin1es. June 29, 1943. "California: Zoot-Suit VVar." Ti.nie, June 21 1943. "City, Navy Cla1np Lid on Zoot-Suit V\.rarfa.re:" Los Angeles Ti.1nes. June 9, 1943. Davies, Lawrence E. "Los Angeles Group Insists Riots Halt." Neiv lr'ork Times. June 13, 1943. "First La.dy Traces Zoot Riots to Discrin1ination." Los Ang. eles Tinies. June 17, 1943. Furst, Peter. "Press Blan1ed for Spread of Zoot Suit Riot. PM. June 10, 1943. "General ' 'Var Hysteria Blamed for Zoot Ro'l\'S." Los A11g, eles Ti.nies. June 23, 1943. King, Susan. "It's Thne for History to Un.spool." Los Angeles Ti1nes. N iay 30, 2001. Levette, Harry. "Negroes Involved .as 'Zoot Suit' Rioting Grips Los Angeles." Atlanta Daily H orld. June 13, 1943. "Los Angeles Barred to Sailors By Navy to Stein Zoot-Suit Riots." Netv York Tinies. June 9, 1943. MeY1 1 illiains, Carey. "Hearst Press Incited C.ampaign Against !Yfe..xican.s, Pron1oted Police Raids: Whipped l p Race dashes." PM. Ju11e11, 1943. "Mexican Press Gives First Zoot Suit Viev•." Los Angeles Tinies . June 18, 1943. "Mexico General Offers Aid in Zoot Inqui11." Los Angeles Tin1es. June 17, 1943· "~IJexieo Not Expected to File Protest Over Zoot V1 1 ar Here." Los Angeles Ti111es . June 11, 1943. "l\IJrs . . Roosevelt Blindly Stirs Race Discord." Los Angeles Tinies, June 18, 1943. "Navy Ban on This Area vVill Be Lifted Today." Las Angeles Tinies. June 15, 1943. Ohtake. IYHvoko. "Design Finder." D1vell, August 2009. https: / /ibooks .goo~e.con1/books? I ~ ' Jyll! Heights 1st Night Rioting &.,, Subsequent Nights ~Rioting • Echo Park n ~c~ Jn BJ:.., on I Boyle Hei hts ~~ · 1st Night Rioting ~ Subsequent Nights ~Rioting Q 1 i l " ~ ~ ii(. " 1' kl' ........................................................... lllJlll ..................... & "Mexico Not Expected to File Protest Over Zoot Vl'ar Here." Los il..ngeles Ti111es . June 11, 1943. "Mrs. Roosevelt Blindly Stirs Race Discord." Los Angeles Tinies, June 18, 1943. "Navy Ban on This Area \'\Till Be Lifted Today." Los .4ngeles Ti111es. June 1 5, 1943. Ohtake, 1-:Iiyoko. "Design Finder." D1vell, August 2009 . https: / fbooks.google.con1fbooks? id=t_9R5izE8SIC&J. .. vie,. \·=1&som .. ce=gbs_navlinks_s. Overend, Wi1lia111. "The '43 Zoot Suit Riots Reexa1nined," 'lay 9, 1978. "Punislunent of All Urged to Break Up Zoot Suit War." Los Angeles Tinies . June 13, 1943. "Race Bias Denied as Rioting Factor." Neiu 'York Ti111es. August 3, 1943. 'Riot .!\l.ann Sent Out in Zoot Vvar." Los Angeles Ti111es. June 8, 1943, Vol LXIJ edition. "Rioting Ski1ts Negro Co1nn1tu1ity." California Eagle. June 10, 1943. "The Theater: Authentic Pachuco. ' Tinze, July 10, 1944. "'Zoot Suit War' Still Unchecked." PM. June 9, 1943. "Zoot-Suit Riots: 125 Hurt in Los • .!\:ngeles Fights." Life, Jm1e 21, 1943. Web Barragan, Bianca. "Buy Chinato,\'Il's 1926 Li' e/Work Ki1u Sing Theatre For $4 .. SMM." Curbed Los Angeles, March 3 2014. http://la .curbed.com/ arcl1ives/ 2014/ 03/ buy_chinato'wns_1926_livev•ork_klln_si.ng_theatre_for_45nu11.php. Bender, Jereu1y. "19 !lr'lajestic Fashions That Deserve A Co1neback." Co1n111unity Men1ber post. B1tzefeed Life, Nove111ber 19, 2013. http://"~'"v.buzzfeed.con1/jeren1ybender/n1ajestic fashion:s-that-deserve-comeback# .enzLLSxdP. De1nby, Gene. u Sagging Pants And The Long History Of 'Dangerous' Street Fashion." National Public Radio. Code Sivitch: Frontiers of Race, Culture and Ethnicity, Septe1nber 11, 2014. http ://'°""""v.npr.org/ :sections/ codeffivitch/ 2014/ 09/ 11/ 34 7143588 / :sagging-pants-and the-long-histo1 y-of-dangeroru-street-fashion. Publisfl, ed SecondanJ Sources Books Abu-Lughod, Janet L. "~ .!\n Overvie\\-of Race Riots in Chicago, Ne'v York, and Los Angeles." 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Reprinted (originally published 1979). e\v York: Routledge, 1q88. ~le Heights 1st Night Rioting 7o~ ~Subsequent Nights ,, ~ Rioting ~ --·- >- \j,..r: • Echo Park ' . ((,• ·~ ···· ~ •• • n • ~c~ Jn BJ:.., on - " ~ iJ • , • \ Boyle Hei hts 1st Night Rioting ~ Subsequent Nights ~Rioting @ 1 1 ~ ~ ~ ii(. 0 1' .4fter the Chicano Moue1nent, 13-16. Los .l\ngeles: UniveTsity of Califon1ia Press, 2008. Griffith, Beatrice Vilinston. A111ericanMe. Reprinting (originally published 1948). '\\7estport: Green\\ood Publishing Group, 1973· Hebdige, Dick. Subculture: The Meaning of Style. Reprinted (originally published 1979 ). e'v York: Routledge, 1988. Hin1es, Chester. If He Hollers, Let Hini Go: _4 Jolovel. Reprint, Original 1945. Can1bridge: Da Capo Press, 2002 . ---. "Zoot Riots Are Race Riots I1943]." In Black on Black: Baby Sister and Selected T 1 \Tn'tings 220-25. Ne>v York: Doubleday, 1973. hooks, be]]. "The Oppositional Gaze: Black Fe1nale Spectatorship." 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" In Migrating To The 11!f ovies: Ci11e111a And Black Urba11 Modernity, 93- 113. Berkeley and Los Angeles: · niversity of California Press, 2005 . Valle, Victor M., and Rodolfo D .. Torres. "Contesting 'Sho1Yi:ime': Latino Leaders in Do,VI1to;\11 Developrnent." In Latino Metropolis, [Nachdr.]., 101-42. Minneapolis: University of 111:innesota Press 2001. Viego, .A.ntonio. Dead Subjects: Toiuard a Politic.s of Loss in Latino Stiidies. DuThan1: Duke University Press, 2007. ·villa, Raul Ho1nero. "Fron1 Military-Industrial Cornplex to Urban-Industrial Complex: P ro1noting and Protesting the Supercity." In Barrio Loaos: Space and Place in Urban ~le Heights 1st Night Rioting L,,. Subsequent Nights ~Rioting Echo Park ' . ((,• ·~ ···· ~ n - " ~ iJ • , • • Boyle Hei hts 1st Night Rioting ~ Subsequent Nights ~Rioting @ ~ ~ ~ ii(. " 1' 1 1 • 1v1innesota Press 2ooi. Viego, Antonio. Dead Subjects: Toward a Politics of Loss in Latino Studies . 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Qui Parle: Literan1re, Philosophy, l'isualA1ts, History 13, no. 1 (Fall/ Winter 2001): 91- 117. Leal, Luis. "Octavio Paz and the Chicano . . " Larin A.nierican Literary Revieiv 5 no. No 10, Special Issue of Chicano Literature (1977): i15-23. http:/ / V\'Vl'\V .jstor.org/ stable/ 20119068. Lee Nora. "An1erica11 Me E11.i>lores 'J\fexican Mafia. "' An1erican Cine111 atograplier, no. 73 (tvJay 1992): 26-32 . Madrid-Barela, Arturo. "In Search of the Authentic Pachuco: .l\.n Interpretive Essay. " Aztlan: A Journal of C/iioano Sntdies 4, no. No 1 (1973): 31- 60. Ma11inez, · George A. "Legal Construction of Race: Me>..'ican-Americans and V\l11:iteness. " Harvard Latino La1u Review 2 ( 1997) : 321- 48. Noriega 01on. "Fashion Crimes." _4ztlan: .4 Journal of Chicano Studies ?6, no. 1 (Spr:ing 2001): 1-13. I 1st Night Rioting L, Subsequent Nights ~ ioting Echo Park n ~c~ Jn BJ:.., on - " ~ iJ • , • I \ Boyle Hei hts ~.jiit"'- · 1 st N lg ht Rioting ~ Subsequent Nights ~Rioting Gl i " ~ ~ ii(. 0 1' 1 1 kl' ........................................................... lllJlll ..................... & Ma1tinez George} •. "Legal Construction of Race: Mexican-Americans and '1Vhiteness. r- Harvard Latino Laiv Reuiew 2 (1997) : 321- 48. Noriega, 01011. "Fashion Crhnes." Aztlan: A Joun1al of Chicano Studies 26, no. 1 (Spring 2001): 1-13. Orenstein, Dara. "Void for Vagueness: JYlexicans and the Collapse of Miscegenation La'iv in California." Pacific Historical Review 4 , 110 .. 3 (August ?005): 367-408. Solorzano-Thon1pson, Nohemy. "Perfor1native wlasculnities: The Pachuco and the Luchador in the Songs of Maldita Vecindad and Cafe Tacuba." Studies in Latin A1nerica11 Popular Culture 26 (2007): 79- 96. So,vard.s, Stacey K. "Juan Gabriel and Audience Interpretation: Cultural Interpretations of Effe:n1inancy and Sexuality in l\• Ie,,.':ico." Jo11r11al of Ho1nosexuality 39, no. 2 (2000): 133- 58. Trevino. Jesus. "The Ne'" IYiexican Cinema." Filrn Quarterly, Vol 32, l·lo 3 (Spring 1979). 26-37. 32, no. No 3 {Spring 1979): 26- 37. Dissertation a11d Tbeses Cutler, Jolu1 Alba. "Pochos, Vatos, and Other Types of Assi1ni]ation: Masculinities i11 Chicano Literature, 1940-2004." Dissertation, University of Califon1ia, Los Angeles, 2008. Licon, Gerardo. "Pachucas, Pachucos, and Their Culture: N iexican Al11erican Youth Culture of the Soutlnvest, 1910-1955." University of Soutl1ern Califon1ia, 2009. Puente, Henry. 'The Prornotion of U.S. Latino FiJn1." The l T niversi.ty of Texas at Austin, 2004. Sparrovr, Ja111es Terence. "Fighting Over the An1erican Soldier: ~I oral Economy and National Citizenship in World'' ' ar II." Bro,vn niversi.ty, 2002. vVoods, Kristi Joy. "Be Vigorous but Not Brutal: Race, Politics, and Police in Los • .!\ngeles, 1937- 1945," 1999. Filu1s and Television Broadcasts Canmer, lsaac. Cherry Poppin' Daddies - "Zoot Suit Riot" (original Video). You Tube Video, 1998. https://\\">\\ ·.youtube.con1/ \\'atch?v=liqH3uli"'JY. Heise, V\T illia.i11. Cannencita. Digital Video. National Archives and Records Adiuinistration, 1894. http.:// con11nons. '"ikin1 edia. org/ \\. ':ilci/ File: Cannencita.ogg. Lynch, David. Mulholland Drive. Universal Pictures, 2001. Oln1os, Edvvard Jan1es .• 4.n1erican Me. Warner Ho1ue Video, 1992. Ortega, Gonzalo ~1:a1tinez. Del Otro Lado Del Puente . . Producciones del Rey, S .• .!\., 1980. Sc.ott, Ridley. Blade Run11er. Universal Ho111e E11tertainn1ent, 1982. Spielberg, Steven. 1941. UniveI"sal Ho1ue Entertain1uent, 1979. Tavares, Joseph. "American Ex]>erience." The Zoot Suit Riots, March 1, 2002. Valdez. Luis. Zoot Suit. l niversal Pictures, 1()81. I 1st Night Rioting L,. Subsequent Nights ~Rioting Echo Park e 0 '\. "' ~ , ...__ 1st Night Rioting ~ Subsequent Nights ~Rioting 1. 1 Effe1 ninancy and Sexuality in l\llexico." Journal of Ho111osexualit!J 39, no. 2 (2000): 133- 58. Trevino, Jesus. "The Nev; Mexican Cine1 na." Fil111 Quarterly, Vol 32, No 3 (Spr·ing 1979). 26-37. 32, no. No 3 (Spring 1979): 26- 37. Dissertation and Theses Cutler, John Alba. "Pochos, Vatos, and Other Types of Assi111ilation: Masculinities in Chicano Literature, 1940-2004." Dissertation, University of California, Los Angeles, 2008. Licon, Gerardo. "Pachucas, Pachucos, and Their Culture: Mexican An1erican Youth Culture of the Soutlnvest, 1910-1955." University of Southern Califon1ia, 2009. Puente, Henry. "The Pron1otion of U.S. Latino Fihn ." The University of Texas at Austin, 2004. Spa!TO\V, Jan1es Terence. "Fighting Over the Alnerican Soldier: l\lloral Econo111y and National Citizenship in World War II." Bro\\'l! University, 2002. Woods, Kristi Joy. "Be Vigorous but Not Brutal: Race, Politics, and Police in Los Angeles, 1937- 1945," 1999. Fihus and Television Broadcasts (( Ca111ner, Isaac. Cherry Poppin' Daddies - "Zoot Suit Riot" (original Video). YouTube Video, 1998. https://\~1\~1\v.youtube.con1/\vatch?v=1IqH3uliwJY. Heise, Willia1 n. Cannencita. Digital Video. National Archives and Records Ad1 11inistration, 1894. http:// connnons. \~>iki1nedia .org/,viki/ File: Cannencita. ogg. Lynch, David. Mulholland Drive. Universal Pictures, 2001. Ohnos, Ed\vard Jan1es. Anzerican Me. Warner Ho111e Video, 1992. Ortega, Gonzalo Martinez. Del Otro Lado Del Puente. Producciones del Rey, S.A . . , 1980. Scott, Ridley. Blade Runner. Universal Ho111e Entertain1nent, 1982. Spielberg, Steven. 1941. Universal Honie Entertain111ent, 1979. Tovares, Joseph. "Alnerican Experience." The Zoot Suit Riots, March 1, 2002. Valdez, Luis. Zoot Suit. Universal Pictlu-es, 1981. End of path "Pachuco Goes to the Movies"; Continue to "Sense of Pachuca" • !§. Powered by S calar I Terms of Service I Privacy Policy I S calar Feedback K 1st Night Rioting ~ Subsequent Nights ~Rioting • Echo Park SENSE OF PACHUCA Sen, se o, f Pachuca Video Essays It enables us to think beyond r·ecuperation and preservation, beyond text and context, beyond physical artefacts and archives. As I will argue the ren1ix also opens onto the possibility of neiu fi.lrn histories and historiographic futures: not the digital annihilation of the celluloid archive, but a reinvigorated theorizing of filni history that oiues and offers son1ething to the living present.' - Katherine Groo, "Cut, Paste, Glitch, and Stutter: Re1nixing F'tlm Histo1y" The follo" ing video essays engage "ith fih11ic representations related to the Projecting 1943 path. l\ pri1na1 y concern thToughout the sh.01t essays is the in/ ability of the fihns to represent the pachuca as a character \vith agency, ore> en quite literally a voice (for exa1nple, in Del otro [ado del puente the catatonic 1 nother cannot speak). The coUection of t11ese video essays represent 1ny early ek'})eri111entation 'vith the for111. I first sho\ved the first nvo together at the ~ 2012 irvIAPPENING exhibition . Contents 1. Mexico de n1i corazon video essay 2. Del otro lado del puente video essay 3. . Al.uerican Me vid. eo essay Begin with "Mexico dle mi oorazon video essay" This page is a t ag of: • Video Gallery: Sense of Pach11ca • !. Powered by Scalar I Terms of Service I Privacy Policy I Sca lar Feedba ck El Pachuco and Downtown screened at iMAPP ENING exhibition SENSE OF PAC HUCA VIDEO E:SSAYS ( 1/3) Mexico d, e mi corazon video essay Th is short video essay is a part of Marquee Survivals: A Multi modal Historiography of Cinema's Recycled Spaces. Source: Vimeo In Mexico de 1ni coraz6n (1964, dir. Miguel M. Delgado), hvo pocha cousins travel to 11exico City fro1n Los Ange1 es. This \'ideo essay exp[ores ho\v this fantasy of a return journey po1trays the t\~'o countries, and tl'leir relation to the cousins' strong sense of national pi::id. e . . 1he filn1 begins i11 the Million Dollar Theatre on South Broadv.ray, a theater v,i.th an i111portant h:isto1y for fl.iex:icans and Mexican An1er:icans li\'i ng in Los. A 11geles. Continue to "Del otro lado del puente video essay" • lit Powered by Scalar I Terms of Service I Privacy Policy I Sca l a r Feedback SENSE OF PACHUCA VIDEO ESSAYS (213) De, I otro lado, del pu1 ente, video essay This short video essay is a part of Marquee Survivals: A Multi modal Historiography of Cinema's Recycled Spaces. Source: Vimeo In this star vehicle sho,, vcasing Juan 'Gabriel, Chicano political a\vakening acts as the backdrop context for this coining of age story. Del otro I ado del p11ente (1979, dir. Gonzalo Ma1tinez Ortega) also stars Lucha Villa in a very s1u:all role as "la 1 11ad1·e." This essay cbarts ho\v Gabriel's character conies to acoept his Cl1icano identity through a ruptu re in the 1nyth of his fa1nilial history. Continue to ".<\merican Me video essay" • • Powered by Scalar I Terms of Service I Privacy Policy I Scalar Feedback SENSE OF PACHUCA VIDEO ESSAYS (3/3) American Me video essay Th is short video essay is a part of Marquee Survivals: A Multi modal Historiography of Cinema's Recycled Spaces. Source: Vimeo This oontribution to the "Sense of Pachuca" video series confronts ho\V Anierican lVle (1992, dir.. Ed"'ard Ja1nes Ohnos) depicts the Zoot Suit Riots as the historical context for Montoya Santana's story of gang life. \'\ ritten about by Rosa Linda Fregoso, the fthn posits the Chicana as the potential savior, but also the 111a1inche \V hose violation conde1nn Chicanos for generations . End of path "Sense of Pachuca Video Essays"; Continue to "Broad,ivay as BaclQ~und" • .I. Powered by Scalar I Terms of Service I Privacy Policy I Scalar Feedback : 0 MARQUEE SURVIVALS: A MULTI MODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES 2Y vE~·r: · \J I •:~· F :_ G'E [ 1 ~ ~ P ? ~ BR OADWAY AS BACKGROUND B. roadway as Background DESCRIPTION DETAILS CrTATIONS SOURCE 1.2 images stitched int o a single panorama [c) 200Q Philip J Ethington Source: los Angeles ,;ind the Problem of Urb.m Historic:;tf Knowledge Describing Los _ t\ngeles's geography in his history of the cit)~s avant-garde cinemas, David Ja111es notes ho'· '' "over t11e city's places are superimposed the shado,vs of their roles in old n10\ies and ne"' tele\dsion shovvs"(Ja1nes 9). The spaces, s:ide\\ralks, bui1ding facades, and n1arquees of South Broad,. va y are 111ore than just physica]. In his semina] book The Productio rt of Space, J:Ylarxist geographer Henri Lefebvre calls this spatial elen1ent, read through sy111bols and signs, 'representational space.' "Broad\\'ay as :Background" uses filn1s that have featured the historic theater district as a background to map the contours of its representational space. Reading against the popular nan·ati.ve of South Broad,vay as a street il1 decline, this section ei.,.'Plores ho\v perceptio11 n1ay be affected b) n1ediation and vice' ersa. This section giv; es a glin1pse of the diversity of n1ed.ia histories that exist >vitbin, or are overlaid upon, the streetscape. Contents 1. Mexico lindo y querido 2. Invisibility I Hypeni sibility 3. Everyday 4. l \llain Video Gallery 5. Appendix: Archival Photos 6. _ .!\ppendix: Cbican@ _<\rt 7. Bibliography for Broad"• ay as Eackground Begin with "Mexico lindo y querido" • !l Powered by Scalar I Terms of Service I Priv.;icy Policy I Sc.;ilar Feedb.;ick ' I II I II BROADWAY AS!:lACKGROUND (:117) ! Mexico lindo y qu! erido porque no quiero olvidar .rne voy 1ne uoy (the trtunpet cries) a Los Angeles porque no quiero olvidar nie voy a Los Angeles n1e voy (the accordion 1noans) a Los ,4ngeles porque no quiero olvidar rniMexico (the tn.u11pet \'Vails) - Eduardo Corral, @ "Variation on a The1ne by Jose l\fontoya" I @TRANSL~TION This ihe1ne is na111ed after a song "@J rvlexico lindo y queridou (@ Beautiful and Beloved ~1exico), ' "'ith a v 1'ell kno,VI1 version coining fron11vlexican singer Jorge Negrete. The @J lyrics describe a deep sentiment of loyalty and love for the ho111eland of l\• lexico: "l\'.Iy beautiful and beloved Mexico/ should I die far fron1 you/ let then1 say I'm asleep/ and bring me back to you."These lyrics ,. vere prophetic as Jorge Negrete died in Los Angeles in 1953. @ Negrete's travel to the city had been arranged b) ~ ~Frank Fouce, a 1novie theater hnpresario and O\>\'ner ' vho ran a 111ajor eJ1tertainn1ent organization that catered to Mexican audiences in the city at the height of the ~Spanish-language cine1na renaissance in Do"'nto\\1.1 Los i\ngeles. For in1n1:igrant (prin1arily Mexican and Mexican A1neri.can) filn1 audiences that frequented South Broad,vay, \Vell into the 1970s and early Sos the n1ov:ie theaters in Oo\vnto,'\ 111 Los A11geles prov:ided an opportunity to be syinbolically transported to "Mexico lindo y querido. ~ Gracefully de1nonstrating this diasporic sentin1ent in the epigxaph above, poet Eduardo Corral inixes languages - Spanish, English, inusical - on the space of the page to evoke a ~nostalgia and sense of transnational belonging particular to Los Angeles' place in the diasporic cultural in1aginary. In :interpreting these varying 111odes of nostalgia and senti.J.nentality, it is useful to consider ho\v ~ transnational scenes of belonging are shaped by the processes of forming cultural and ethnic(-racialized) identities. These processes are relational, involving situated definitions of identity as they are for1ned in a specific city, as Georg;e Sanchez exa1nines in Beco1ning l"l:fexican An1erican, focusing on Los A11geles in the first half of the 20th centu1y, or ben•>een different generations, periods of migration, and shifting notions of citizenship as David Gutien·ez outlines in f.-Valls and Mirrors. Identities are also shaped through and within 111edia representations: for exainple benveen fihn cultures, Special performance at the Million Dollar Theatre. date unknown Source: Sow Digitization Project (C-dlifomia State Library) [Detail] Inside of the Milfion Dollar Farmacia batlhroom there is a ],;irge printout of an archival photo of the Million DollarTheatre above the toilet exa111ines in Beco111ing 1 V!exican A111erican, focusing on Los Angeles in the first half of the 20th centu1y, or bet\veen different generations, periods of 1 nigration, and shifting notions of citizenship as David Gutierrez outlines in Walls and 1 Vlirrors. Identities are also shaped through and \vithin n1 edia representations: for exa1 nple, bet\veen fihn cultures, understandings of 111oden1ity, and n1edia industries, as Laura Isabel Serna explains in Making Cinelandia, a \\'Ork that con1 plicates do1ninant understandings of ho\\' A111erican fihns functioned in Mexican fihn culttu·e on both sides of the border in the 1920s. The 1 nediated fonnation is Chicano identity is addressed in Rosa Linda Fregoso's land1nark studies, The Bronze Screen and 111eXicana Encounters, \vhich illustrate ho\v canonical Chicano fihns center 1 nasculinity, heterosexuality and investlnent in the Chicano fa11lilia to build their cultural nationalist project. The annotations listed here ei...'Plore ho\v the1nes of cultural citizenship, national belonging, and ethnic identity e1 nerge in scenes fro1 11 fihnes that conjure nostalgia, feature return jou111eys, situate Broad1vay as a significant node for the production, circulation and exhibition of Mexican entertain1nent, or uncover l'.vlexican culture as Los Angeles' repressed expression. [i] For further exploration of "Mexico Lindo," see Arturo F. Rosales, "In Defense of l'.vlexico Lindo," in Chicano! The History of the 1 V!exican A111erican Civil Rights 1 V!ove111ent (Alie Publico Press, 1996), 55- 7i. Video annotations: • Canci6n Mixteca in MEXICO DE Ml CORAZON • From Million Dollar to Broadway in YAKO, CAZADOR DE MALDITOS • Rally for workers rights in LA JAULA DE ORO • Opening of Jaripeo ("rodeo") and religious fireworks display in Puerta del Rio, San Luis Potosi, Mexico • Club Silencio in MULHOLLAND DRIVE Video Gallery: Mexico lindo y querido C lick on thtunbnails to vie\v dips or vie1\• tln·ough linked annotations 'l M · O, ASESJ NOS I · IR E .. TORI ZADA Olympic marquee advertises Caz.ador de asesinos {1983) and La carir"losa motorizada ( 1977) Source: Cinema Treasures Pancho shares newspaper clipping about tourism in Baja California (2013) Los Angeles street scene.1970s; scene of shopping Source: Ric.lrdo V.llverde Oigit3J Col/ec.tion. UCLA Chicilno Studies Research Center, Los Angeles Angeles' repressed expression. [i] For further exploration of "1'1exico Lindo," see Arturo F. Rosales "In Defense of i\:lexico Lindo," in Chicano! The History of the Me.\ican Arnerican Civil Rights ll4ouen1ent (Arte Publico Press, 1996 ), 55- 7L Video annotatio! ns: • Canc1 i6n Mixteca in MEXICO DEM I CORAZON • From Million Dollar to Broadway in YAKO, CAZADO' R DE MAl DITOS • Rally for workers rights in LA JAULA DE ORO • Opening of Jari, peo ("rodeo"} and religious fireworks display in Puerta del I Rio, San L uis Potosi, Ml exico • Club Silencio in MULHOL LAND DRIVE Video Gallery: Mexico lindo y querido CHck on tl1un1bnails to vie\V clips or vie' v thTou,gh linked annotations This page is tagged by: motoriz:ada {1977) Sounce· Cinema Treasures PanchC> shares newspaper clipping about tourism in Baja California (2013) Los Angeles street SA:ene. 1970s ; scene of shopping Sounce.· Ricdrdo Vdlverde Digit;;,/ Collection. UCLA ch;,:ano Studies Rese;;irch Center. Los Angeles Frain Million Dollar to Broad\vay I La ley inn1igratoria Si111p.son-Rodin es discri111inatoria I Rodeo (jaripeo) in Pue1t a del Rio in Villa Juarez, San Luis Potosi, Mexico I No hay banda I Cancion Mixtera I Religious fire'~ or ks display Continue to ulnvisibility I Hypervisibility" • lit Powered by Scalar I le rms of Service I Pri vacy Policy I Scalar Feedback I 11 I II BROADWAY AS BACKGROUND (217) lnvisib, ility I Hypervisibil' ity South Broadv ·;ay's theaters are transforn1ed into surreal, evocative settings in David L ynch's Mulholland Drive, subtly shot to the point of beconung nearly imperceptible as their actual locations. VVhile the potentially recognizable exterior of the Palace Theatre building and interior of the Tovver Theatre are used for the Club Silencio scene, the interior of the Tovver Theatre again appears as the setting for the seedy dov-lntown hotel, Park Hotel. Geno Silva plays both the eincee at Club Silencio and the manager at Park Hotel Given @Ettle guidance for both roles, Silva inflects a Chicano accent that \v:ill go unnoticed by n1ost of the filn1's vie\.,•ers. Silva's character v.Tan1s .<\dan1 Kesher (played by Justin 'TherotLx) that shady characters are looking for him and have en1ptied his bank accounts. \'Vhile tl1is encounter at Park :Hotel is brief to, the scene subtly references the Mexican Cookie (Geno Silva). manager of P.3rk Hotel, lets Ad<im Kesher (Justin Therou><) know about shadv ch<1.racters that are looking for him. Offices in Tower Theatre were used as. sets for th is scene. Soun::e: Critic;i/ Commons .A.merican vernacular and cultures of Los Angeles (see also the C lub Silencio scene analyzed in the "JYlexico Undo y querido" page). Geno Silva's perforn1anoes in fil111s about Los Angeles intersect 11vith n1any of the the1nes of this project. He appears in Steven Spielberg's 1941 as a stockpacb.uco character nan1ed "Martinez"; he perfor111ed in the stage and fi]1n versions of Zoot Suit {1981), playing the Mexican An1erican cop t11atjoins the v» hite police officers as they together beat :Henry Reyna; he took the role of the villainous assassin character "The Skull" in Scarface (1983) after Ed,vard Ja111es @ Oln1os rejected it. and he appeared on t11e television sho'v T-Valker, Texas Ranger (1996) as a character sin1ply nan1ed "El Coyote. " JNlany of these roles could be classified as adhering to stereotypes about Ivlexican Alnerican or Latino identit). In M11 lh0Hand Drive, this finds expression 1nosdy in his use of Chicano colloquialisnis such as "Oye, carnain and "1'1ira e.se " and his reference to the 1'1exican folk tale of "~La Llorona" in introducing Rebekah del Rio. Silva's use of ]anguage in the Mulholland Drive scenes, l¥hen considered in relation to n1any of his other r.areer roles provides a con1pelling exa.n1ple for thinking l:hrough the then1e of invisibility / hypervisibility. As Cookie, he points to \\"hat it n1eans to be heal'd, felt and seen on South Bl'oadway, as the street's significance in Los Angeles' history is reconfigured by a hege1nonic, \~·bite spatial imaginary. It niay be hnperceptible to inost audiences, and '~i.llfully or ignorantly ignored, l\'hile it can also be portrayed so broadly as to ibecorne caricature. Negotiations bet\veen invisibility, assnnilation (or even neglect) and hypervisibility or grotesque caricature are found in the fol1ovting clips fron1 predo111inantly genre fil111s. In the ro1nance 1nelodrarnas - ,,·hetl1er they be HoUy:\vood (City of Leavirng the domestic comforts of Aunt Rutih's :;ipartment.. Betty Elms (Naomi Watts) and amne-siac Rita (Llurn Elena Herring) venture to downtown Los Angeles in search for <inswers. Finding theirdestin<ition to be Club Silen<:io, the pair mysteriously comes upon a clue that rneither was exli)ecting. Source: Critia/Commons as to becon1e caricature. Negotiations bernreen invisibility, ass:iJ.nilation (or even neglect) and hypervisibility or grotesque caricature are found in the followi.ng clips fron1 predon1inantly genre films. In the ro1nance 1nelodran1as - \\'hether they be Holl}"vood {City of .4ngels) or indie (In Search of a 11fidnight Kiss and (500) Days of Sun1n1er) - South Broad,. vay is used as a socially aesthetic backdrop for ro1nantic a\ovakening. By emphasizing the abstract and philosophical qualities of t11e street's "ruins" in tl1ese courting conversations on quirky dates, ron1ance filnis are able to con\ eniently ignore the social realities e>.'})erienced by other people sharing the side\\alks of South Broad,\-ay. The directive here is to '1ook up" and be impressed bytl1e arcane kno\vledge of Los Angeles' architecture, or the philosophic.al n1usings, and sensuous descriptions shared behveen a doctor and her angel. Scree nshots from (500) D~ys of Summer Another genre featured in these clips is the action filrn. Here South Broadv>ay becon1es the space \\'here \Vhite n1ale Scene from Kindergarten Cop (1990) set on South Broadway protagonists either assert their n1asculinity by violently subduing crin1inals (Kindergarten Cop), or by assun1ing the role of crin1inal (Virtuosity). In discussing w·o rks of genre revisionisrn, George Lipsitz has pointed out ho\V "action/ adventure fihns often rely on racial i:n1agery ... [using] racial differences to signal zones of danger @ and refuge" (186) . . The clips featured belo\\' use South Broad,vay i.n just these v·;ays, depicting the street as a den of cri1ninality, drug use and an1orality, in \o\ 1 hich characters either enforce or elude violence and la\v .. These scenes repeat the racist spatial logic used in typical portrayals of the l .S.-Mexico border in @ HollY'vood \i\ 1 esterns. Ca111ina Fojas observes, Los Angeles can be considered a border city, v.,r here "tl1e border e1nerges ... as a ~symbolic boundary and a co111plex of operations, especially in the technologies of surveillance that reach nortlnvard and link up to the policing agencies "\\i.thin @the city" (145). The clips analyzed belovv higl1ligl1t 11ow this syn1bolic boundaiy and its linked segregation of the city can lead to grotesque portrayals that fixate on cultural difference and spatialize difference in order to create an exotic environment in \\'hich to connect 'l'>'ith a ro1nantic partner. Or the representations rnay con1plete1) elid. e cultural difference in order to retreat to a n1ore fanriliar cultural i111agining of the city's stifled past. ~-"~- The shape of a wom~n cle.;ming is cut out of the real est~te listings of property fOr the Westside of L os Angeles Video annotatio1 ns: • Million Donar Theatre in BLADE RUNNER 111 KINDERGARTEN COP: • Lo.,,· lives, street toughs, and punk tramps; • ; A £1An£1<> v~ "?· linked segregation of the city can lead to grotesque portrayals that fixate on cultural difference and spatialize difference il1 order to create an exotic environ1nent in "''hich to connect v1 ith a ro111antic partner. Or the representations rnay co1npletely elide cultural difference in order to retreat to a inore fanriliar cultural iniagining of the city's stifled past. Video annotatio1 ns: • Million Dollar Theatre in BLADE RUNNER 1111 KINDER:GARTEN COP: • Lo'>\I lives, street toughs, and punk tramps; • ~A d6nde vas?; • Temlinator saves con1passion for Oregon • Drugs at Broad\\ay Arcade • SID's Spring-Broadway Arcade strut in VIRTUOSITY The shape of a wmn;m cleaning ts cut out of the real estate list ings of property fc>r tihe Westside of Los Angeles • Describe it~ like He1 mingway & P · ears at Grand Central Market in CITY OF ANGELS • South Broadway as backdrop for quirky romance in IN SEARCH OF A MIDNIGHT KISS • Walking Tour & Perspective from Angels Knoll i in (500) DAYS OF SUi MI MEI R Video Gallery:. Invisibility I Hypervisibility Click on thun1bnails to vie,,· clips or vie'"' t11 rough their linked annotations (( Continue to aEveryday" • 11 11 II I II BROADWAY ASBACKGROUND{3fi) This Mexicanisn1 [in Los Angeles] .. floats in the air ... .Itjloats, 7-uithout offering any opposition; it hovers, bloivn here and there by the ivind, so111eti1nes breaking up like a cloud, so1neti111es standing erect like a r·ising skyrocket. It creeps, it ivrinkles, it e>..pands and contracts; it sleeps or drea1ns; it is ragged but beautiful. It.floats, never quite e>.."isting, never quite vanishing. - Octavio Paz, The Pachuco and Other fuiremes 'Once it 1vas like seeing the night for the very.first ti111e, only son1eone dangled black ice cubes infrontofn1y eyes. Each street, each story n1elted on a page ... " (27) - llllarisel.a Norte. "Lost in Los (Angel) Es." Peeping Tom Tom Girl In A1nerican Encounters, Jose Lin1011 provides a useful contexi: for the quote above, excerpted fron1 Paz's exploration of hov11 ~1exicans and Mexican Arnericans adjust to North American culture. li1n6n outlines a broader context for Paz's interpretative fran1e~vork, connecting Paz's reading of Mexican An1erican culture to the develop1nent and 111igration of psychoanalysis into the United States and Mexico. \. \ ith an en1phasis on ego fonnation, this interpretation of psychoanalysis had consequenoes in tl1e anthropological and ethnographic study of inarginalized co1nn1unities both in the United States and Mexico. According to Liln6n, Paz's profiles of the pachuco and the Iexican character v,rere influential in shaping Mexican public opinion, especially that of the country's literate 1niddle class. The "''ork's popularity confir111ed assu1nptions about the supposed pathology and dysfunction of the country's V\'orking class; especiaUy its inale 111e1nbers. In The Laby1i11th of Solitude chapter tifled "The Pachuco and Other Extren1es," Paz spatiaiizes his negative attitude to\vard the Pachuco, applying it to the ..,~·hole 11.iexican population of Los Angeles .~ Seeking to capture the Newst.ond on Broadway in 1980. selliilg materials in Spanish and English Source: Wj//iam Reagh Collection (LAPL) elusiveness of ~1exican identity "''hich he likens to a "furtive, restless air," Paz conveys contemporaneous Me.-..::ican contributions to L-0s Angeles and Me;1..'icans in tl1e city as a floating residual feeling that hovers. II I II OESc:Jtlf'TION DETAILS CITATIONS SOURCE Documentation of Broad~v;;iy Mural originally installec:I in Victor Clothing Comp.;my in 1981 Source: Mur;;J/ Conservancy of Los Angefes Given the purported shortco111ings of Mexican An1erica11s identified by Paz and other philosophers, sociologists, anthropologists a:nd state officials, capturirr.1g the everyday practices and experiences of Mexicans and Mexican Americans living in Los Ang, eles constitutes a political act. To frame t11e everyday - be it in styles ranging from straightfon\·ard, poetic, surrealist, stylized - is to focus on the discursive po\\'er of the "@ordinary n1ai1," or "'0111an, and an attendant street-level vie"l'<'POint. Characteristic of such a 'antage point, featured in this section are photographic \Vorks that "'orlcs capture Broad\.vay througl1 documentation (~Shades of L1\ Collection), reflexive markings on their surface photographs (~Ricardo @Valverde ,~ Pattsi ·valdez), or the recasting of street images in ne\v mural visions (John Valadez, above). A second group in this section include narrative, docuch·an1a and essay fili.n scenes that capture \.V hat ,. ,catching a 1novie or \V -a.lking do\¥n South Broad'<\·ay looked like in real and in1agined periods of Los Angeles history (Tf1e Exiles, Los Angeles Plays Itself, Ornega ll1an). These visual representations, together \'l'ith the l\/Iarquee Stories photo essay \\Testle \.vi th the contradictions of ~capital-labor relations, consumer culture and ethnic raciaiized identity experienced by inarginalized conununities \Yorking and living .in D0\\1ltOi\'11 Los Angeles, documenting South Broad\vay's multiple cultural transforinations and possibilities. Video annotations: • A Night Downtown & Night Windowshopping on Broadway &. Shopping at Grand Central Market in THE EXILES • Opening of MEXICO DE Ml CORAZON • Pachuco Strut in DEL OTRO LADO DEL PUENTE Families shQP on Broadwa11 wart to c::ross the street at lhe northeast corner at the intersectton of 6th Street and South Broadway . while one DYn poses Source: Sh.:ides of LA.: MexicanAmerie<m Community(LAPL) Shoppers on Bro.adway photo (Ricardo Valverde, 1977); notice poster for Soltera y madre en la vida (1969) Source: Esperanza V;;J/verde ;;md Christopher;_ Valverde • A Night Downtown & Night Windowshopping on Broadway & Shopping at Grand Central Market in THE EXILES • Opening of MEXICO DE Ml CORAZON • Pachuco Strut in DEL OTRO LADO DEL PUENTE • Mexico City ·n Los Angeles in EL NORTE • Cinema of Walking in LOS ANGELES PLAYS ITSELF Video Gallery: In the Shadow of Capital Chck on th1J.n1bnails to vie\.v clips or vie'v t11ro~h t:he.: fr linked annotations Video Gallery: Everyday Source: Esperanza Valverde and Christopher 1. V;;i./verde P<itssi Valdez's three f)dnel hand-colored photocol!age Source: Collection of Christin andGiinte,-Joetze Click on thtunbnails to vie\\' clips or ie"' tluo~h their linked annotations (( Continue to "Main Video Gallecy" • lit Pvwered by Sc alar I Terms of Service I Privacy Pol icy I Scalar Feeclback Graphite drawing of a street vendor's space in front of a. loans store Source: Karia Salem Collection, Los Angeles I 11 == 0 MARQUEE SURVIVALS: A MULTI MODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES 2' v E c·r:•. \J IC 1' F.'- FE c•~ - j) ? ~ BROADWAY AS BACKGROUND(4n) Main Video Gallery Video Gallery: In the Shadow of Capital Click on thun1bnails to vie\v clips or vie,,· through their linked annotations Video Gallery: Everyday Click on thutnbnails to vie\v clips or vie\\' through their linked annotations Video Gallery: Mexico lindo y querido Click on thun1bnails to vie\v clips or vie\v through linked annotations Video Gallery: Invisibility I Hypervisibility Click on thumbnails to vie\\' clips or vie\v through their linked annotations Continue to •Appendix: Archival Photos» • !it Powered by Scalar I Terms of Service I Privacy Policy I Scalar Feedback BROADWAY AS BACKGROUND (Sn} Appendix: Archival Ph1 otos News vendor at sidewalk stand (1/l3) E.'{amples of archival photos displayed throughout the Broad\vay as Background the1nes are collected here. II Exan1ples of archival photos displayed throughout the Broad,vay as Background then1es are collected here .. This page is a tag o, f: • e,\'-s vendor at side,valk stand • rviillion Dollar Theatre (1987) • Side\\'alk ne..,vsstand on Broad'\'ay (1980) • Ne>vs vendor on Broad\\ 1 ay • Olyn1pic n1arquee, ca. 1980s • Million Dollar Theatr, e • Broad\\'ay street scene (1975) • Broad\\'-ay street scene (1996) • Broad\\'ay street scene (1984) • Broad\\• ay side;\•alk scene (1966) • Broad\\ray street scene II (1996) • Loe'i\' 1 S State Theater visible in background, ca. 1940s • Broad'i\ 1 ay street scene III (1996) (( Continue to " Appendix: Chican@ Art" • lit Powered by Scalar I Terms of Service I Privacy Policy I Scalar Feedback a ROADWAY AS BACKGROUND (617) Appendix: Chican@ Art Shoppers on Broadway (Ricardo Valverde, 1977) (1/11) E.i,:amples of Ch.ican@ _!\.rt displayed throughout the Broad\vay as Background the111es are collected here. Exa111p]es of Chican@ A.rt displayed throughout the Broad,vay as Ba:ckground the111es are collected. here. This page is a tag of: • Shoppers on Broad,\ ay (Ricardo Valverde, 1977) • Los Angeles street scene 1970s (Ricardo Valverde) • Pop-Up Broad,, vay: Ruben Martinez, Orpl1e11111 {2014) • Pop-Up Broad,, ,·ay: Ruben Martinez (2014) • Sad Girl (John Valadez, 1979) • Guantanan10 (Sandra de la Loza, 2007) • Broad\\ray Mural (John Valadez, 1981) • Loans (John Valadez, 1979) • Asco pe1fonnance on vVl1ittier Blvd (1971) • Downt:ov~'D Los Angeles (Pat:ssi Valdez, 1983) • Mexican Caged (Gronk, 1974) (( Continue to "Bibliography for Broadway as Background» • Powered by Scalar I T e rms of Service I Pr ivacy Pol icy I Scalar Fe edback II I II BROADWAY A5 BACKGROUND (7f7) Bibliography fo, r Broa 1 dway as Background Agrasanchez, Jr, Rogelio. Me\ican lvfovies in the United States: A History of the Filnis, Theaters and Audiences, 1920-1960. Jefferson: McFarland &Co Inc., 2011. Arbeliez, Maria S. "Lovq-Bndget Filnts for Fronterizos and Mexican Migrants in the nited States." Journal of tlie South1vest 43, no. 4 (Winter 2001): 637-57. Bartolo1ne, Lilia I. "Literacy as Con1ida: Learning to Read with Mexicai1 Novelas." In Words T¥ereAll We Had: Beconling BiliterateAgainst the Odds, 49-59. Ne\vYork: Teachers College Press, 2011. Ca.Inpbell, Bruce. i iva La Historieta: Mexica11 Co1nics, NAFTA, and the Politics of Globalization. University Press of ~Jississippi , 2009. Corral, Eduardo C. "Variation on a Then1e by Jose Montoya." In Sloiu Lightning 33-41. Yale Series of Younger Poets. Ne,,- Haven: Yale University Press, 2012. Ethington, Philip J . "Ghost Neighborhoods: Space, Ti1ne, and lllienation in Los Angeles." In Looking for Los Angeles.: Architecture, Filni,. Pliotog raphy, and the Urban Landscape, edited by Charles G. Salas and Michael S. Rotl1. Los An. geles: Getty Research Institute, 2001. Fojas, Calnilla. "l rban Frontiers: Border Cinema and the Global City." In Border Bandits: Hollyivood on tlze Southern P,·ontier, 145-81. ~<\.us tin: University of Texas Press 2008. Fregoso, Rosa Linda. "Ghosts ofa Mexican Past." In nieXicana Encounters: The Making of Social Identities on the Borderlands, 148-68. University of California Press, ?003. Fugika'iva, Laura Sachiko. "Sllifting the Gaze: Gender and Resilience in The Exiles." _4.n1erican Quarterly 67, no. 1 (}.!Ia.rc l1 2015): 1-24 (online aiticle). doi:10.1353/ aq.-:io15.0009. Garcia Rarnon. Ricardo Valverde. A\ er: Versioning lut Histo1y. Los Angeles: UCLA. Chicano Studies Research Center Press 2013. Gaspar de Alba, Alicia. "Catalog: Redefining An1er~can Pl.lt." In Chicano A.rt Inside/ Outside the l'Jaster's House. : Cultural Politic.sand the CARA Exhibition, 334- 35 .• !\ustin: University of Texas Pr. , 1998. Gonzalez, Rita Ho\\ 1 ard N. Fox, and Chon l'; .. Noriega, eds. Phaton1 Sightings: A.rt A.fter the Chicano Jvlovenient. Los Angeles: University of California Press and Los .l\ngeles County _ 'l:useutn of Art, 2008. Gonzalez, Rita, Ran1on Garcia, and C . . Ondine Chavoya. "A.L .. A.R..M .• l\.'s 1• 1anifest(o) Destiny." l-\lideAngle 20 no. 3 (1998}: 79-83. Ja1nes. David E. U No l\.fo ies: Projecting the Real by Rejecting the Reel." InAsco: Elite of the Obscure, A Retrospective, 19 2-198 , edited by C. Ondine Chavoya and Rita Gonzalez, 180. Gennany: Hatje Cantz \lerlag, 2011. Gonzalez, Rita, Ran1on Garcia, and C. Ondine Chavoya. U A.L.A.R.111.A.'s Manit:est(o) Destiny." J ¥ideAngle 20, no. 3 (1998): 9-83. Jan1es, David E. U No 11.iovies: Projecting the Real by Rejecting the Reel." lnAsco: Elite of tlze Obscure, A Retrospective, 19 2-198 , edited by C. On dine Chavoya and Rita 'Gonzalez. 180. Gennany: Hatje Cantz · verlag, 2011. Lipsitz, George. "As U nn1arked as Their Place in History: 'Genre AIL'\.'i.ety and Race in Seventies Cinen1a." In A111 erica11 Studies in a 1 Mo1nent of Danger, 185-210. l\>1inneapolis: University of M. innesota Press, 2001. ].iuseu1n of LatinAn1erican Art, Long Beach, ed. 'Selected Plates fro1n the Exhibition." In lMEX/ L.A.: " ... 1\!e.\.ican" llfodernisn1(s) in Los Angeles, 1930-1985, 166. Germany: Hatje Cantz Verlag 2011. Noriega, d1on A. "Fore•vord." In R.icardo Valverde , by Ran1611 Garcia, viii. Los Angele.s : UCL-\ Chicano Studies Research Center Press, 2013. Ondine, Chavoya. "Social Un'\ est: An Inte1vie,.,- \\.'ith Hany Gan1boa, Jr." Wide Angle 20, no. 3 (1998) : 55- 78. https: / / muse-J 11u- edu.libproi. ·y.usc .. edu/journals/wide_angle/vo20/ 20.3chavoya.htrnl. Ondine, Chavoya and Rita Gonz.alez, eds . . Asco . : Elite of t/1e Obscure, A Retrospective, 1972-1987. Ger1nany: Hatje CantzVerlag, 2011. Rosales, Arturo F. "In Defense of iYiexico Lindo." In Chicano! The History of the 1\1e:rican A.n1erican Civ il Rights Move111ent, 55- 71 . ...i\Ite Publico Pre.ss, 1996. Rubenstein, Anne. Bad Language, Naked Ladies, and Other Threats to the Nation: A Political History of Co111ic Books in lvle.tico. Durham: Duke l Jniversity Press, 1998. Saldivar, Jose David. "Cultural Theory in the U.S.-!v1exico Borderlands." In Border ll'latters: Ren1appi11g Anierican Cultural St1.1dies, 17-35. Los Angeles: University of California Press, 1997. Jan1es, David E. The 1 1Jost Typical Avant-Garde: History and Geography of Minor Cinenias in Los .4ngeles. Universit;• of California Press, 2005. Zilberg, Elana. u F alling Do\vi1 in El Norte: A Cultural Politics & Spatial Poetics of the ReLatinization of Los Angeles." l1 ideAngle 20, no. 3 (1998): 183-209. http. :/ / n1use .jhu .edu/ journals/ \.\'ide_ angle/ vo 20 / 20. 3zilberg.html. Fil1us Delgado Miguel M. l'1e.\1:co de Mi Corazon. Alter Fihns, i963. Holdridge, Alex. In Search of a Midnight Kiss. IFC Fihns, 2007- Leonard, Brett. Virtuosity. Paramount, 1995. Lynch, Da\lid. Mlllholla11d Drive. lJniversal Pictures, 2001. Mackenzie, Kent. Tiie E. tiles. The Criterion Collection, 1961. Nava, Gregory. El Norte . The Criterion Collection, 1983. Olmos, Ed\\•ard James. A. n1erica11 Me . vVarner Ho1ne Video, 1992. I I Rubenstein, Anne. Bad Language, aked Ladies, and Other Threats to the lVation: A Political H istory of Con1ic Books in Me.l..ico. Durham: Duke University Press, 1998. Saldivar, Jose David. "Cultural Theory in the U.S .-1\lfexico Borderlands." In Border 111atters: Re111appi11g An1erican Cllltural Sh1dies, 17-35. Los Angeles: University of California :Press, 1997. Ja1nes, David E. The lYost Typical Avant-Garde: History and Geography of Minor Cinenias in Los .4.ngeles. University of California Press, 2005. Zilberg, Elana. "Falling Do,, \'11 in El Norte: A Cultural Politics & Spatial Poetics of the ReLatinization of Los Angeles." Jt\T ideAngle 20, no. 3 (1998): 183-209. http:/ / n1use.jhu.edu/journals/ \\1ide_angle/ ·020/ 20.3zilberg.htntl. Filnis Delgado, Miguel M.1'11e\1:co de Mi Corazon . . hlter Filn1s, i963. Holdridge, Alex. In Search of a Midnight Kiss . . IFC Fihus, 2007. Leonard, Brett. 'Ti.rtuosity. Par<unount, 1995. Lynch, David. M11l/1olla11d Drive. lJniversa] Pictures, 2001. Mackenzie, Kent. The Exiles. The Criterion Collection, 1961. Nava, Gregory. El Norte . The Criterion Collection, 1983. Olinos, Edv,rard James. A.nzerican Me. \<Varner Ho111e Video, 1992. 011ega, Gonzalo Martinez. Del Otro Lado Del Puente. Producciones del Rey, S.A., 1980. Reitn1an, Ivan. Kindergarten Cop. Universal Home Entertainment, 1990. Scott, Ridley. Blade Runner. Universal Hon1e E11tertainn1ent, 1982. Silberling, Brad. City of .Angels. Warner Ho111e Video, 1998. Spielberg, Steven. 194i. Universal Home Entertain111ent, 1979. Valdez, Luis. Zoot Suit. l T niversal Pictures, 1981. Webb, l'l• iarc. (soo] Days of Sunnner. 20th Century Fox, '.l009. End of path aBroadway as B.ackgroundn; (( Continue to "Photo Essay: I\llarQruee Stories" • lit Pvwered by Scalar I Terms of Service I Privacy Policy I Scalar Feedback 11 : 0 MARQUEE SURVIVALS: A MULTI MODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES c' vc:·i:·\J I·.=~. F.:.. G'E [·~: p ? ~ TITLE PAGE & TAB LE OF CONTENTS (6/B) Photo Essay: Marquee Stories 01'al histories ivith cine1na audience 111e1nbers ... consistently tell us that the local rhytlnns of n1otio11 picture circulation and the qualities of the elperience of cine1na attendance iuere place-specific and shaped by the continuities of life in thefan1 ily, the ivorkplace, the neighbourhood and conununity. - - Richard 1!i1altby, "N e1\· Cinema Histories" In his introductory essay to E\plorations in Neiv Cine111a History, Richard l.Vlaltby identifies critical "'·ays that distinguish nev v cinen1a history fro111 reception studies. Crucially, the for111er recognizes the social and spatial in experiences of cinen1agoing, rather tha11 li1niting analysis of the engage1nent audiences ex-perience \\'ith cultural texts by focusing on interpretation or decoding. ~inch of the literature currently identifying '\>ith ne"v cine1na histo1y focuses on tl1e connections enacted \'Vitb other places and practices through r:- llf!ti'!J Cll! nft , WiM' >u(r..V the si1nple act of n1oviegoing, lhiking the spaces and places of cine1 ua to connnunity, IEl personal and cultural n1en1ory, class :identification and 1nobility, and ethnic and/or national Rafael's memo ry of Mi lli()n Dollar Theatre streetscape identification. Future research on this topic ,..,.oltld do ,,.en to inore fully engage practices. of oral history, but ideally 'vi th the con1 bined efforts of "archival research in corporate records and local and trade press" -- specifically in Spanish language press, as Laura Isabel Serna and Colin Gunckel have ei..'Plored for the first half of the h\'entietl1 century -- and "tracking [of] progranuning and exhibition patterns" in order to produce a "@social geography'' of Do\vi1to,'Yl.1 Los Angeles' Spanish-language cine111as throughout the 1970s and 8os. This section gestures tov.r ard this fran1e'<\'Ork, ~vhile inaking no claiins to accuracy or authenticity of cultural i11e1no11 . Included are excerpts fron1 one set of intervievvs conducted '<Vith IC! Francisco (Pancho), \Vho cun·ently \Vorks at the Million Dollar Farn1acia '~ritb his \V ue, Lizbeth; and Rafael, \\'ho ran the ~ Discotec.a 2000 video stall in the P;:mch() and Lizeth at Million Dollar Farmacia Broad\• \'<lY Arcade until relocating to the c Broad\\'<ly Trade Center in 2014. Both n1en V\'orked at or near the Million Dollar TI1eatre after arriving in tl1e l1 nited States fro1n Me,,.ico in tl1e 1980s. ................................................... ~& DESCRIPTION DETAILS C ITATIO f\15 SOURCE Rafael, a video store owner, relocated to Broadw<iy Tr:Kle Center DESCRIPTION DETAILS CITA T IO NS SOURCE .................... 111111!1 .................................................. ~& Rafael. a video st ore owne r. re located to Broadway Trade Center DESCRIPTION DETAILS CITATIONS SOURCE Rafael sold videos at this st.i ll in Broadway Arcade until late 2013/ early 2014 Contents 1. Photo Essay: Opening / P[oject Conclusion 2. Photo Essay, Death of Cinen1a/ America 3. Photo Essay: Death of An1erica/ Cinema II 4. Photo Essay: Death of Alnerica/ Cine1na III 5. Original Photos 6. ' T ideo Gallery: Marquee Stories Begin with "Photo Essay: Opening / Project Conclusion" « Continue to "Prototypes" • lit P<Jwered by Scalar I Terms of Service I Privacy Policy I Scalar Feedback : 0 MARQUEE SURVIVALS: A MULTI MODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES - :- - ·: · . · - , _._ ~ "~ ~ - P ? ~ PHOTO ESSAY: MARQUE!: STORIES (116) Photo Essay: Openi1 ng I Project Conclusion vVhat follo,vs ''1ill be the basis for the project's Conclusion. At the project's start, I thought this '"as '\'here I ·would begin the project. Here is a description of this approach fro111 early on in the project's develop.n1ent: This prqfect ioill encourage users to unravel Broadivay's stories in an evocative, affective, interactive experience that ivill qllestion the stakes and investnzents in the pr·ocesses of preservation, and the construction of archive,s. The piece ai1ns to nzove beyond provi. ding a counter-archive of the histories and narratives obscured in 111yths about Dorvntorvn Los .4-ngeles, and instead 1noves tozvard forging a different ttJpe of interactive e;1.perience, one 1nodeled on the logics, netioorks, and systen1s that I anticipate developing out in 1ny research on Broadivay . . This research rvill entail intervieiving rnerchants, r·etailers, and co11s1aners about the roorkings of the entertain1ne11t business as it norv functions on Broadlvay. I ivill also conduct intervieius ivith Los Angeles conservationists, citJl politicians and officers along ruith doi.unto1vn boosters and historians, but I ivill pri1narily be developing the project's interactive/ database systern out of research based on the cultural eco11on1ies that have preserved Broadivay for the latter part of the hventieth century. In the process of developing this project, I lea111ed that I had a great deal to learn about the n1edia histories and cultural studies approaches I intended to explore. I decided to focus on the cultural histories of this rich archives of South Broad\\•ay. The follov.."ing photos represent docwnentation of this shift in focus. Fron1 considering the n1ovie tbeatel's as ilnpo11ant 111011un1ents for thinking through the post-cine1na n10.n1ent to focusing on ho'.\' niediati.011 is diversely engaged in the cultural n1'en:1:oiy of \'lorkers and designers of' en1acular space on South Broad,vay. Continue to "Photo Essay, Death of Cinema/ America" I.. Powered by Sca lar I Terms of Se rvice I Privacy Policy I Sc<ilar Feedback : 0 MARQUEE SURVIVALS: A MULTI MODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES. - . "~ -'l_"J ·> ' »• ~ '. ~: P· ? R PHOTO ESSA'f MARQUfE STORIES (216! Photo Essay, Death of Cinema/ America Jn IvJi.rhael Putnam's photograph book Silent Screens: 171e Decline and Transfonnation of the A.111erican Mouie Theater dilapidated snl.all-town movie houses represent the passing of an American era. Themes of nostalgia, disappearance and the loss of An1ericau innocence rec.ur throughout the essays that acco1npany the book's photographs of theaters captured in varying states of abandon1nent, detnolition and conversion. Putnam states it himself '!vhen he \V rites: U I saV!' the theaters I '\o\l<lS ru'.<H'i'Il to photograph ... as en1bo din1ents of the death of the _A,n1erican t0'.\'11. ~ ( 2 000: 96) In conflating the screening space of the n1ovie theater and the character and vitality of the mid nventieth oentm1 1 ~!\J.nerican to\vn, Putnam overlays the spaces of constructed An1erican entertainment onto constructed, li\-ed city space. For Putnam ho"'·e.-er, the layering is a son1ber one, as the theater the experiences housed there and the Arnerican landscape have all faltered. The unspoken villains responsible for these di:sappointrnents are agents that have broken up a comfortable unity benveen small town An1erica and neon lit nl.ovie houses-tele~ision, VCR.s, the suburbs, peripheral identities and an entertainment industi.y ready to ad<tpt Qlowever slo'!\'ly and clun1sil} ) to aocon1n1odate change in order l:o profit. RobeTt Sklar thankful1y points this out in his introduction: "Sentin1en!al me1nories 1nay overlook a funda1nental point: in the l T nited States popular entertainment is frrst of aU a commercial culture, created and dissen1inated for p1ivate profit" (2000:2). Vivian Sobehack has also contributed a significant elegy for cinematic sensations 1nemory and presence. In her 1994 essay "The Scene of the Screen: Envisioning Cinen1atic and Electronic 'Presence,"' Sobchack eA1Jlores the topic y ., 1ith a pheno1nenologic.al approach. To distinguish Sobchack's project f11on1 Putnarn's 'The Scene of the Screen" is focused on the differences in hol'\' presence is experienced tlrrough photographic, cine1natic and electronic representation. Sobchac:k dra\\'S on Frederic Jan1eson's historical model and configuration to compare the photographic as representative of realis1n the rine1natic of n1odernism and the electronic of postrnodernism. In comparing these technological mon1ents the cmematic is obviously the n1ost favored for Sobchack and t:be electronic, her le.a.st: "the electronic uivializes the hun1an body." (1994:152) Sobchack concludes: "Devalning the physicall5 lived body and the concrete materiality of the ' vorld, electronic presence suggests thillt \;Ve are an in danger of becoming 1uerely ghosts in the .machine. ' ( 19 94:153) Here, the electronic is plainly identified as villainous. These ~w exan1ples of n1ouming for cinen1a point to \>Vhat is generally accepted to be lost in the transition out of an era in >vhich cine1na dominated as the largest entertainment mediun1: loss of place and loss of bodi.ly experience. Putr1am conten1p!ates his relationship to ci.nen1a as it lives on only in n1en1ories and in photographs. Sobchack regrets the loss of the n1aterial and concrete. Both connect their subjective inen1ories and experiences to a cohesion and v.rholeness that no longer exists. Sobchack dainl.S that 1"litb electronic ni.edia. "space beoo111es abstract, ungrounded, and flat." (1994:151) But, for all their claims oftbe specific and embodied eA'Jlerience (that nov,, live only ii1 the past) I perceive abstraction- abst:J:action of subjective el'l.-perience. for shared, objective experience and the abstraction of a roinantirized era and mediun1. Per11aps this has n1uch to do with 111.Y perspective fron1 this current n10111ent, .Putnam does conclude his book 'v i th the follo\\'ing: "The past has different aspects, depending on one's place 1n relation to it The present generation \V i.11 see these photographs as representations of history, For n1e they are reflections of experience" (2000:100 ). •• Continue to "'Photo Essay: Death of America/ Cinema II" : 0 MARQUEE SURVIVALS: A MULTI MODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES . · . ::-·,:""'- • > ~ :. ~ ~ ~. P ? ~ PHOTO ESSAY: MARQUEE STORIE5 (3/6) Photo Es. say: D, eath of America/ Cinema II In these photographs elect:J:onic 111erchandise does not threaten its consw11ers ,,_.,ith becon1ing ghosts in the inachine; they are conunodities stored and sold inuch like con1n1odities that preceded then1. In the darkened theater of Ca1neo n1ere n1achines occupy space in the ghost, instead of the other )Vay around. With practices of shopping and consuming stiU intact, a stroll do1N11 Broadv.-ay 1nakes plain that the n1aterial conditions of this vvorld still dictate a oonsun1er's interactions \'lith entertainrnent. As far as the experience of the 111ediu1n's representation, this stroll wi11 also reveal ho'N people are using at least one type of these electronic devices: the cellular phone. Amongst the other 111erchandise, the VCRs, the DVD players, the DVRE-it is true that these are devices used to retreat entertain1nent into the borne, but they also hold the n1aterial significance of representing status and tecl111ological advance111ent and superiority th.at, though different fron1 the phenon1enologica.l e>.'Perience of its representations, still sjgnifies "relations bet'i\'een the subjective and objective. aspects of [their] inaterial, social and personal existence" (Sobchack 140 ) . Though, these photographs of BroadV\-ay and its theaters also could be read as haunted by an era past, they are not intended to convey sadness or death. They express ho;v cine111a \Vas not cleanly \Viped fro1n the earth's surface; its physical structures endure. Si111ilarly, the physical components of electronics and its net\',;orks fill space and hold '\'/'eight- the abstracted co111puter chip n1ay theoretically be "pure surface, pure simulation of thought. Its inaterial surface is its 1neaning 'vithout history '"i thout depth, v..rithout aura, affect, or feeling," (Nicllols 1988:633) hut i.ve novv see that its presence (through production and consun1ption) is not so easily disn1issed. These ne'f\' technologies also reveal the technological characteristics of cine111a. As Donna Hara\o\ray \\Tote in 1985 about a hopeful (but . not utopian) future and fusion i.vith n1ac]1ines: "There is no fundan1ental, ontological separation in our fonnal kno,-.-ledge of n1achine and organism, of technical and organic ... " (533) vVhen a 111ediu111 or technolog} is first introduced, it is usua11y revolutionary to declare tl:ris sentin1ent. For cinen1a, ho,vever, "i1nper111eable 'l"l'holeness" becan1e a theorized characteristic- one that television and digital technologies fractured. These photographs seek to evoke not a lost past that >\'as once ""hole and is no'¥v fractured by the latest tec1'1nological 1no1nents and consciousness. Instead, they strive to shovv hoi.v sirnilar the practices of n1odeTn day consun1ption and entertainment are to those at the beginning of the centu1y, and how the "vholeness of the An1edcan drea:n1 and its access to a "locatable center" (149) has long been fractured and illusory. Continue to ~Photo Essay: Death of America/ Cinema III" !. Pc:iwered by Sc:alar I Tef"TT15 of Service l Priv;icy Policy I Scalar Feffib~ck : 0 MARQUEE SURVIVALS: A MULTI MODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES 8' vE~'.C· 'J ICA P . .'...R ECJES p ? ~ PHOTO ESSAY: MARQUEE STORIES (4/6) Photo Essay: Death o, f Amer' ica/ Cinema Ill DESCRIPTION DETAILS CITATIOt\15 SOURCE No description .;ivailab/e_ (( Continue to «Original PhotosD • Powered by Scalar I T erms of Service I Privacy Policy I Scalar feedback : 0 MARQUEE SURVIVALS: A MULTI MODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES 8'' vE~'.O'J ICA P . .'...R EDES p ? I~ PHOTO ESSAY: MARQUEE STORIES (5/6) , Original Photos Garment work job announcement (20 10) (1/13) This page is a tag of: • Gannent '''ork iob announcen1ent f 2010) This page is a tag o, f: • Garn1ent v .. -orkjob announcen1ent (2010) • Pancho and Lizeth at Million Dollar Fannacia • Pancho shares nev•spaper clipping (2013) • [Detail] Inside rvlillion Dollar lFar1nacia bathroom • D\TD CoverofLajaula de oro (1987) • Inside i\'Iillion Dollar Farmacia bathroon1 • Noen1i, a vendor at Broadv.ray Arcade (2013) • rYiarcos, vendor at Eroad\\ay Arcade (2011) • Sa1nanta, vendor at Eroad\\'ay .<\rcade {2011) • Rafael at stall in Broad\vay Trade Center (2014) • \ T endor at Broad\vay Arcade (2013) • Million Dollar Theat11e shot in Yako • Pancho at MiUion Dollar Fan11acia (( Continue to "Video Gallery: Marquee Stories" • lit Powered by Scalar I T erms of 5ervice I Privacy Policy I Scalar Feedback : 0 MARQUEE SURVIVALS: A MIULTIMODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES C:'Y vE~·r: · \J I •:~ F :_ G ' E [ 1 ~ ~ jJ ? ~ PHOTO ESSAY: MARQUEESTORIES (6/6) Video Gallery: Marq 1 uee Stories Experin1enting ¥•ith other discursive 1nodes in this pri1narily "photo essay," I have included potential exa1nples of oral histories. Together \· \·ith the photographs of stores and shop o\vners on South Broad\vay, this audio-visual research ahns to counter studies fron1 various disciplines that overlook the creative and entrepreneurial activities of t11e street's connnercial culture. Videos docun1ent how Rafael ~shared research leads for filn1s t11at '';ere shot on South Broadv• .ray and the IE:l practice of candle preparation at the rvlillion Dollar Farmacia. End of path ulPhoto Essay: Mamuee Stories"; Continue to uPrototvJ>esn • Powered by Scalar I Terms of Service I Privacy Policy I Scalar Feedback A documented moment of gathering a piece of media research. Source: Vimeo Marquee Survivals: A Multi modal Historiography of Cinema's Recycled Spaces I L izbeth at Million Dollar Farmacia explains candle preparation_ Source: Vimeo PROTOTYPES Project Prototypes l\1aking a video ... is to engage in ritual - both the 1·ituals of netv technologies and those of creating and structuring intages. [R]ituals serve as a 'fra1ne' ivhose stabilizing effect, e.\perienced tlirough repetition in cycles and in rhyt/1111ic recurrences, alloivs us to see tliings 1vith a different intensity and ... to perceive the ordinary in an e.\tl'a-ordina1y ivay. - .d Trinh T. 1'fmh-ha (2001) [Prototype:] Prototypilig is a physical technique of rea,.ticulation. p,.ototlJpes 111anifest possibilities tlirough the unique use of n1ate1'ials 01· invention of e:i..pl'essive modalities ... [Ite1·ation:] These steps are repeated until a social consensus is negotiated, or until a set of constrairits i111poses an end to the designing process. - Q A 11ne Balsaino, The Iterative Steps ofHenneneutic Reverse Engineering In Designing Culture, -~e . Balsan10 outlines ten lessons abot of the insights that Balsamo culls from her el>.-periences as a cu instructive in the creation of a digital dissertation. Balsamo st< understood as assemblages of practices. materialities, and affc technical-cultural assemblages." This definition of innovation influences that contribu~ to t4e shaoe smd form of a multim<>l affordances" or as "hybrid socio-technical-cultural assentblages." This definition of irruO\ation highlights the con1plex net\,·ork of influences that contribute to the shape and fonn of a n1ultimodal dissertation. To rephrase Balsamo, a 1 nultilnodal dissertation is not an object, it is "historically constituted" through an "articulatory and peiiormative process" ( 9). At present, the diversity of practice-based dissertation fonns is increasing as 111ore and more contributions are co111pleted. This e111erging, unsettled genre of scholarship exposes the socio-technical construction of the acade1 nic disse1tation niore broadly. Current challenges to CTAtl 495 fail 2007 f tnstructor· Mike Patterson I Sounds: Sebast1•n Ch•ng Sourc~· Vimeo the ve1y construction of scholarship through digital niedia foreground issues of inscription, scholarly expressivity, and disciplinaiy conventions and rituals that are i111plicit concerns in all acaden1ic dissertations. As I ha\·e been \Vorking on the topic of South Broad\¥ay for 1nany years. the teclmological possibilities of ho\\' to approach the material. \Vhich disciplinary questions to pose, and in \\·hich media fom1 to enact this mquiry have shifted as I have continued to research not as niuch the history of this street, as the multimodal historiographic possibilities of representing the research process itself. ''llile the current iteration. ever in a state of revision and ,·ersioning, is the result of a cut catalyzed by imposed constraints, it aspires to sho\,. ho"· multiple iterations and prototypes have left an imprint on its design. Contents 1. Prototype i. Semantic Video Remi.'I:/ Trailer 2. Prototype 2 . Aug111ented Reality Rituals stabilizing effect, e.t:perienced through repetition in cycles and in rhytl11nic recurrences, alloivs us to see things ivith a different intensity and ... to perceive the ordinary in an extra-ordinary iuay. - @ Trinh T.11inh-ha ( 200 1) [ProtohJpe:] ProtohJping is a physical technique of rearticulation. ProtohJpes 111anifest possibilities through the unique use of 111ate1ials or invention of expressive 111odalities ... [Iteration:] These steps are repeated until a social consensus is negotiated, or until a set of constraints in1poses an end to the designing process. - @ -"11 ne Bal.saiu o, The Iterative Steps of Henn eneuti c Reverse Engineeri ng In Designing Culture, Anne Balsan10 outlines ten lessons a bot of the insights that Balsan10 culls fron1 her e:1.'])eriences as a cu instructive in the creation of a digital dissertation. Balsa1110 s t< understood as assen1blages of practices, n1aterialities, and affc technical-cultural asse1nblages." This definition of it111ovation influences that contribu~ to tl1e shaoe ilnd forn1ofa111ultin1oc affordances" or as "hybrid socio-technical-cultural assen1blages." This definition of innovation highlights the co1nplex nen~ ·ork of influences that contribute to the shape and fonu of a n1ultin1odal dissertation. To rephrase Balsan10, a 1nultin1odal disse11ation is not an object, it is "historically constituted" tl1rough an "articulatory and perfonnative process" (9). At present, tl1e diversity of practice-based dissertation fonns is increasing as 1nore and n1ore contributions are con1pleted. This e111erging, unsettled genre of scholarship exposes tl1e socio-tecl111ical const1uction of tl1e acade1nic disse11ation n1ore broadly. Current challenges to CTAN 495 F.;112007 I Instructor: Mike Patterson I Sounds: Sebasti;n Chang Source; V1meo tl1e very construction of scholarship through digital n1edia foreground issues of inscription, scholarly expressivity, and disciplina1y conventions and rituals tl1at are unplicit concerns in all acade.n1ic dissertations . • 45 I have been \V orking on tl1e topic of r-;:·i Soutli Broad\vay for 111any years, tl1e teclu1ological possibilities of ho\v to approach the iuaterial, \vhich disciplinary questions to pose, and in \vhich 1nedia fonu to enact tl1is inquily have shifted as I have contu1ued to research not as 111uch tl1e histo1y of tllis street, as the n1ultin1odal historiographic possibilities of representing tl1e research process itself. While the current iteration, ever in a state of revision and versioning, is the result of a cut catalyzed by i111posed constrai11ts, it aspires to sho\\1 ho\v n1ultiple iterations and prototypes have left an i111print on its design. Contents L Prototype I. Se111antic Video Ren1ix/ Trailer 2. Prototype 2. -~ugn1ented Reality Rituals Begin \vitll "Prototype 1. Semantic Video Remix/ Trailer" • !it Powered by Sc•lor I Terms of Service I Privocy Policy I Sc•lar Feedback ' ' == 0 MARQUEE SURVIVALS: A MIJLTIMODAL HIS. TORIOGRAPl-IY OF CINEMA'S RECYCLED SPACES . ~ - I ~ - ' • H "- ' = - P· ? -~ I ROJECT flP.0TOT"?:=5 I !/2l Prototype 1. S 1 emantic Video Remix/ Trailer This e~eriment \\i.th annotation and a video trailer constitutes one of the earliest e~erin1en:ts associated '.-ith this project. \IVhile a quality of remix: is obvious in the sampling of an arcltive of clips featuring South Broad11·1 .-ay as a background location. remi.x: also determined the very form he e. ... -periment takes" Borro\\i.ng a tf.1nplate fro in Jonathan Mcintosh, this annotated reu1Lx traile.r e>..'})lored on~ approach for displaying sources. e..'i})anding the possibilities of citation i11 connecting disparate nm·.-orked materials. The use of Popcorn.js. an HTI,IIL5ja)asc::ript 1ibrcuy al1o\vs the annotation to unfold in re.al time which gives t11e video a dynamic qua1ity. \'idea and inedia annotation has since been incorporated into the Scalar platfo1m and is used in the Sralar -project you are ClJlTentlyreading. {Sc.roll down; p,-oject may take a mome, n· t ta toad b, e/ow] {Press play on video below to begin}' oadway as backgrou. nd FOOTNOTES This page is a t ag of: An HTML5 video experiment. adapted from a demc 11sf11g the Popr.orn. Js ramework. Links are ln pihk. VIDEO SOURCE AUDIO SOURCE W IKIPEDlA • e.li.'])eriment takes_ Borro,\>ing a template from Jonathan 1Yt:clntosh this annot<lted remi'\' trailer e.li.'])1ored one approach for displaying sources. expanding the possibilities of citation in connecting disparate nm\·orked n1aterials. The use of Popcon1.js. an HTh'.IL5jayascri:pt 1ibnuy allo\\TS the annotation to unfold in real time i\ihich gives the "iideo a dynamic quality. Video and inedia annotation 11as since been incOl"!lO l"ated mto the Scalar p1atfonn and -is llSed in the Scalar pxojec't yon are currently reading. {Scroll down; project may take a moment to load below} {Press play on video below to begin} roadway as bac ground FOOTNOTES A11 HTMl5 video experiment. adapted from a demo usjng the P p[CJrn.js lr<imewark. lln~s are tn pink. VIDEO SOURCE AUDIO SOURCE W.tKIPEDtf\. Broaowav as B ackground 1s. tile tir.stlnstallrrumt at ~,~ronae .S"ll1'Vl •31:::.. Than - to ~ebelllaus Ptxeis ror ;m exceU oen! !emplate! Th is page is . a ta_g of: · • Semantic video remi..'l Continue to aP:rototype 2.. Augmented Reality Rituals" FlROJ'ECT PROTOTYPES (212) Prototype 2. Augmented Reality Rituals ~Walling along South Broadway a tra ·eler "ill find evidence of the street's inforn1al netv.'orks; for instance, posts advertising jobs in the garment industry or stall rentals, or discounts on n1obile phones and calling caTds. Focusing on the street le,·el, one is also 1nore likely to detect ho v at the end of the day gannent ;ivorkers en1erge from the Ai'l"JAC .Fashion Building or fron1 the back staircases of the BroadV\<a) Trade Center. Or one 1nigbt 1 1otice ho,.,· some street vendors appear to hide merch<111dise deep in tl1eir carts covered by black plastic bags, sometin1es filled w1th nuts or other such inconspicuous conlll1od.ities as decoy goods, \Vhile displaying certain n1erchandise only at specific r:non1ents, in ~particular encounters. Paying attent~on to ho'v these financial excl1anges fiu1ction "'ri.thin th. e street's local economy, this rerouting of the tour form aspires to a sin1ultaneously more e1nbodied and informed understanding of how· cinen1a's infrastructure has been preserved on South Broad\.\'a) . A short ciip of a mewsstmd on South Broadway m 2007 'Source· Internet Archive The experi1nental design of this tour prototype pushes against the conventions of the a11gn1ented reality tour e}qJerience. !ElAugn1ented reality (AR), an audio-visual platfor1n facilitated bys1nartphone, especially for consumer applications, can be a restrictive 1nediu1n to design for: users n1ust bave s1na11:pl1ones, soi:ue fan1iliarity ' vi th new tecl1nologies, and potentially high datu plans to use the tour. I becan1e interested in 11o~\' a tom· could be co1nplen1ented or supplemented by other practices and gestures com1ected to 1nediation that already augment the lived reality of experiencing South Broad\vay s streetscape. One in1po11:ant association benveen AR and gestures organicaHy obse1"\ ed on South Broad,vay is the conswnerist in1pulse of ad ertise1uent. Contents L Prototype z Augmenting through gestures 2. Prototype 2 : Zme Guide Begin v11ith "Prototype 2: Augmenting through gesturesn - End of path "Project :Prototypes" ; Continue to "Portfolio" 'Jcreenstiot of AR nrolotype l!l5irig L3yar p l~ tforrn PROTOTYPE 2. AUGMENTED REALITY R ITIJALS ( 112) Prototype 2: Augmenting through gestures Passing out pruject c:ards As research into ho•.v these pe1for1native gestures of selling function, I handed out cards distributing information about n1y project and lae]icitingpotential in oral histo1"ies '"ith the san1e materials. The act of handing out cards tested the boundaries that are supposed to separate the practices of research, performance, and social interaction, as "·ell as what keeps the spheres of professional scholarly inq11hy :and consumedsn1 separate. l. Tlene recaerdos de verpe. lfculas en las teatros de Downtown Los Angeles1 1Cuentenos! Na description a ~i111i1bfe.. Ayudano:S con un proyecto sobre fa historia del cine e. n Las Angeles. S. u bistoria es imporlante. No espere p. a· ra llamar. Deje un mensaje de correo de voz e · n: (213)973-71 · 63 0 envie un cor:reo electr6nico a: marquee survi v a ls@gm.ail .com Used to request snaring mE"rnonecs•md staries:;ibourdawlltowf! movte the<iters DESCRIPTION DETAILS CITATIONS SOURCE P;issing cmt project c;irds. performing street economy gestures DESCRIPTION DETAILS CITATIONS SOURCE Passing out project cards. performing street ecooomy gesrures DESCRIPTION DETAILS CITATIONS SOURCE Passersby read cuds during AR expe<iment Continue to uPrototype 2 : Zine Guide" • lit Pvwered by Scalar I Terms of Service I Pr ivacy Pol icy I Scalar Feeclback flROTOIYPE: 2. A U G Ml:NTE:D REA U"'""'V R ITlJALS [212j Prototyp 1 e 2: Zine Guide l sing n1edia foruJS fron1 vernaculars organic to the street vas further explored in an accompanying paper guide prototype. R Adaptingthe cover of a "El libro seminal'' comic for t11is ~prototype, the ~ 1zine gnide's aesthetic '"as inspired by the IZ!Jhistorietas (comic book) sold and purchased at South .Rroadw-ay ne';-.rsstands, but easily found in similar ne,¥Ssta:nds across the country. Co\IEr uses imagery from an issue ofthe h1staricta (com ~ c::} EI libto si;nian.al 5'3 mple p~ge fe3 rure; how t:3rd 3d¥ert1 semepts and br.i,celeLS ~re used oo promote busi ms5;::,. ~.;i mple wur guide p.;ige features rontra>t l.:ietwffn Yalw and [ 500) Davs of ournmer This page is a tag of: • Sample CO\'er page from tour guide zine • Sample page from toUI guide zine • Cover of tour glide zine Po~red by Scalar I Term> ofSer•bce I Pr1vacy Pohcy 1 Scalar Feedback Covc:r Li>es imager.· from an i ;.sue ofthe hi storlet-. lcomicl E l tlbro ~eman.a I M1\l~CJ:tJEE SLJI~ V l V 1\LS 5ample page fearures. how i::;;rd 3dvert1~emi=rits and b12C"'lns ;;re uset! m promote tlusines"5 'iarnpletolllr gulde pagefe;i,tures contr<iSt berween Yak<J and {.500) Davs at Summer : 0 MARQUEE SURVIVALS: A MULTI MODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES 8' vE~'.C· '.J ICA P . .'...P E C1ES P ? ~ TITLE PAGE& TABLEOFCONITNTS (B /B) Portfolio This path ex-plores ho\'\ involven1ent · with h\'O collective-based technology design projects I have collaborated 'vi.th has affected rny n1ethods and approaches \• vith this project. \• \lhile their connections to MARQUEE SUR . VIVA.LS n1ay not be in1111ediately evident, they represent i111po11ant shifts in ho\Y I m1derstand design and research through collaboration \'Vi.th people systeni.s - technologic .al, social and culrural. 1. Mobile Voices/ Voces M6viles (VozMob) 2 . Feu1TechNet VozMob Icon FemTe<:hNet MOCC vs. DOCC Contents 1. Portfolio: Mobile Voices/ Voces M6viles 2. Portfolio: Fen1TechNet Begin with "Portfolio: Mobile Voices/ Voces M6viles" End of path "Title Page & Table of Contents"; « Continue to "Title Page & Table of Contents" • :=: 0 MARQUEE SURVIVALS: A MULTI MODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES B' ,, E =;o'l ICAP." RE ''E' p ? R - . - - PORTFOLIO ( 112) Portfolio: Mobile Voices/ Voces M6viles DESCRIPTION DETAILS CIT ATIONS SOURCE VozMob logo Over the acadetnic year of 2009·2010, and especially during the ©lsun1mer of 2010 , I \vorked on a project that has influenced ho\v I understand collaborative research. Mobile Voices/ Voces l\16viles (VozMob) is a ©1n1obile tnedia project that began as a partnership benveen the Institute of Popular Education of Southern California (IDEPSCA) and the Annen berg School for Conununication at the University of Southern California. The project brings together practices of critical pedagogy, patticipatory action research tnethods, and open culture to create a platfonn that exceeds the boundaries of a traditional technical object or systetn. Po,ve1fully den1onstrating ho" ' "socio·technical·cultural assetnblage" (Balsa1110 8) can infonn activist and advocacy practices, VozMob "'as created as a platfonn for inunigrant and/ or lo,v· " 'age 1vorkers in Los Angeles to create, publish and transn1it their O\vtl stories and content using tnobile phones. The project began frotn an early collaboration benveen ©!Sasha Costanza·Chock (no\v an Associate Professor of Civic Media, Co111parative Media Studies at MIT, but at the tin1e a doctoral student at USC's Annenberg School) and ©1An1anda Garces (then project tnanager and conununity organizer '" 1th IDEPSCA). The project represents countless tneetings involving dialogue, " 'orkshops, and exercises addressing topics of technology, design, conununication, activisn1 and conununity through various practical, conceptual and theoretical approaches. Vital to the project " 'as the equal treatn1ent of contributions fron1 project participants, \vhether they be a men1ber of IDEPSCA's popular con1n1unication tean1, a graduate student, a researcher or a USC faculty 111e1nber. Po"•er " 'as openly discussed in 1neetings, not only in ho"' it structures the teleconununication systenlS and technological devices used in the project, but also in ho"' it affects the very encounters benveen 1nen1bers designing the project's syste111s and practices. v\7hen I facilitated a \vorkshop to ei<-plore the fonnal properties of the 1nulti1nedia stories created by the popular ...................... :--+: .... ... + ............ . ............. -+ ........ ---......... +:.-. .. - -1 ........ + +1 .. ... Created for a panel ·· see a summary here: http://vozmob.wordpress.com/2010/04/ 16/hastac-panel-debrief I For the original form ;ind full context, see: ·- Source: YouTube SUpported by the HASTAC/MacArthur Digital Media and learning Competition. Source: YouTube N2Y 4 Featured Project: VozMob 0 < - . - researcher or a USC faculty n1e1nber. Po,ver "\\'as openly discussed in 1neetings, not only in how it structures the teleconununication systenlS and technological devices used in the project, but also in ho;v it affects the vety encounters benveen 111e1nbers designing the project's systenis and practices. \\/'hen I facilitated a \\'orkshop to e}."Plore the forn1al properties of the n1ultin1edia stories created by the popular co1111nunication tean1, inany of my assun1ptions about the proper sttuctures for ;vorkshops about 1nultilnedia (and by extension, multi111odal) literacy \I\ ei·e challenged. Froi:n n1y e}.'J)erience as a teaching assistant at the Institute for 1ultilnedia Literacy (I liL), I" as used to leading V1 1 orkshops ;~·it11 college-aged students. I had al,vays recognized tl1e hnportance of conceiving of kno;vledge as distributed across classroom participants: that students had varying expertise, fanlilia:rity and con1fort \\ith teclu1ical syste1ns sofuvare and concepts that n1ay at titnes see1n to exceed n1y O\\'Il , but everyone contributed to the overaU process of collective learning . . Yet still, facilitating \.Yo1lcshops attended by inostly adults older than traditional college age (and older than n1e) and in the context of bilingual popular education, expanded ho,~· I understood the conditions of possibility for reciprocal and/ or dialogic lean1ing. These experiences also connected 111y interests in Spanish-language popular media, technology design, conununity and activist prooess, cultural studies, and "a praxis of critical digital inedia literacy," as rfil Sash a Costanza-Chock h as descTibed Voz1\1Iob. TI1ough I hope to engage the intersection of these fields n1ore explicitly in the future, it did shape ho'.v I conceive of this project's histotiographical approach. I have only begun to develop these aspects, ,\Tith regards to a potentially participatory design that ;•;ould be shaped in dialogue ,. \'ith con1n1unity ine1nbers that in this iteration are positioned as intervie\\' subjects. Ho,vever, the need to explore Spanish-language inedia, and its histories, in order to propose these collaborations is , '1:-hat led to the inclusion of "Mexico lindo y querido" as a theme in the Broadv·•ay as Background section of tl1is dissertation and \vhat motivated me to include Spanish-language inedia archives fron1 South Broad\va:; in this project. Continue to "Portfolio: FemTecbNet" • Powered by Scalar I Terms of Service I Privacy Policy I Scalar Feedback Supported by the HAS TAC/MacArthur Digital Media arid L ea ming Competition_ Source: You Tube No description ~v.ai!dble. Source: You Tube Voces M6viles es un proyecto que ermplea una plataforrma de blogeo rmediante tel 'eto~os m6viles. p.3ra que los t:rabajadores inrmigrantes de L os Angeles.· Source: YouTube : 0 MARQUEE SURVIVALS: A MULTI MODAL HISTORIOGRAPHY OF CINEMA'S RECYCLED SPACES 8' vE:'C·"J ICA P . .'...RE [JES P ? i~ PORTFOLIO (212) Portfolio: FemTechNet mTechNet FemTechNet 30 l<Jgo Fen1Tech et is a nenvork first activated in April 2012. Co founded by Anne Balsan10 and Alex Juhasz, the collective includes scholars, artists, students, and learners n1ore generally, " @J\vorlcing on, "Ni.th, and at the borders of technology, science, and feminis111 in a variety of fields including Science & Technology Studies (STS), 1:edia and Visual Studies, Art, Gender, Queer, and Ethnic Studies." '""11ile Fen1TechNet describes the net\vork itself, the n1oniker also contains the nern'ork's collective projects. These projects include an online course structw·e called the Distributed Open Collaborative Course (DOCC), and tl1e courses that have been taught using this structure for the past hvo years on the topic ofFe1ninisn1 and Technology. The Fe1nTechNet conuuunity has produced a collaboratively \\ 1 ritten tec1mical report and manifesto, curricular videos, inapping projects, \.\'Orkshop exercises, syllabi curriculu111 plans and lessons, 1\•hile also holding conun.unity open office hours. Organized conunittees initiate projects in the foHo\vi.ng areas indicated by tl1eir titles: Pedagogy, \>Vebsite and Soc.ial 11edia, Accessibility, Video, V-likipedia, Critical lR.ace and Ethnic Studies, etc. Since Fall 2013, I have been an active n1e1nber of Fen1TechNet. I have served on the Assessn1ent, Pedagogy, Steering, Technology, \T ideo, Critical Race and Ethnic Studies, and VI' ikipedia Co1n111ittees (having chaiI 1 ed or co chaired the la.st t\.\'O ). In addition to having @J taught three courses '' viitl1 the DOCC, on the topics ofFe1ninisn1 and Tecl111ology, \\'hich included both undergraduate and graduate versions of the course, onsite and online, n1y '''ork \Vitb Fen1TechNet has also included ®lco-producing video dialogues and advising in students' \Vork (iI1cluding a Parsons School of Design thesis on IE]Wilcipedia edit-a-thons and discrin1ination e)l.1Jerienced by " 'on1en in tech " 'ork environn1ents ). T1 1rough Fen1.TechNet l have also becon1e active in co1n1nunitypractices around V\:ikipedia, both in tbe ®I classroom and in © panels and conuuunity sessions \vith Fen1TechNet, as \\'ell as \vi.th the @ local Ne\vYork V\r ikipedian con1111unity. An aspect of \\• orking \vtth ,, Vikipedia that I appreciate is ho'v it concretizes aspects of Fen1Tech et's n1ission to contribute to vernacular, archival practices for the general public. The question of ho\· V traditional intellectual, pl1ilosophical, scientific and tecl1nical fields have neglected contributions fro1n inarginalized people generally (though Fe1nTecl1Net focuses on ,, vo1nen) becomes tangible in the context of Wikipedia i,vhen it is revealed that as recently as 2011, \Von1en editors con1prised only @J S.5% of "Feminism, Technology, and Bod[es" Source: Vimeo traditional intellectual, philosophical, scientific and technical fields have neglected conhibutions fro1n 111arginalized people generally (though Fen1TechNet focuses on 'vo1nen) becon1es tangible in the conteJ...'t of V\ ikipedia -.vhen it is revealed that as recently as 2011, \¥0111en editors con1prised only @ 8.596 of the encyclopedia's contributors. Without participation tb.ese iinportant aspects of science, technology and tuedia hisl'ory inay be forgotten. Yet, i,.\·orlting in this systetn requires fanliliarity ~ ith bureaucratic, see1ningly opaque internal procedures that seen1 to run contrary to the spirit of free and open culture. Hovvever, it is these ve1y practices that both sustain the encyclopedia and enable continued exclusion of kno\\ 1 ledge fro1n outsiders, ne>\ 1 co1ners \Vho happen to usually be \Vo111en, people of color, queer people, activists, etc. lfy \V ork \vith Fen1Tech et and Wilcipedia has further clarified for ine the need to build and sustain counter archi'i es and e1nergent neh\'orks of n1edia circulation 'vhich inay be epheineral and frequently ignored, son1ething that h.as also tnotivated the research, design and production of this inultin1od, al dissertation., (( • End of path «Portfolio"; Continue to "Introduction" Powered by Scalar I Terms ol Service I Privacy Policy I Scalar Feedback Scree nshot from student's thesis twine game Teaching Wikipedia Editing 0 <: Teaching Wikipedia E dit ing Source: You Tube" ...... This panel addresses systemic gaps in participation in editing Wikipedia, where t he editor base is currently 87% male_ Unsurprisingly. cons istent _ _ _ Source: You Tube

Abstract (if available)

Abstract This project focuses on the significance of the everyday practices of Los Angeles’ South Broadway for media and cinema studies. It explores how shoppers, moviegoers, and vendors have made contributions to the preservation of movie theaters in Downtown Los Angeles that are frequently disregarded. Alongside the social and material practices that preserve the street’s built spaces, the project also illustrates how the street is imagined by various groups through surveys of photographic and cinematic representations of crowds that have historically populated South Broadway, both inside and outside its theaters. Taking movie theater use, reuse and representation seriously can expand dominant understandings of cinema histories, and facilitate embracing what media historiography, Chicano/a Studies, and urban practices reveal about the entangled relationships cinema has not only with other media forms, but also with the social, economic, cultural, and historical dimensions of everyday life. ❧ As a multimodal project, this dissertation uses different discursive modes to create a collection of audio-visual materials that evoke the fragmentary nature of the archive. This approach assumes that there is intellectual value in the seemingly unrelated details hailed by a research question whose various connections can be productively explored through multimodal forms of scholarship. The project also uses image and text, video annotations and commentaries, video and photo essays, to evoke the overlooked presence of South Broadway’s racialized audiences.

Linked assets

University of Southern California Dissertations and Theses

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Asset Metadata

Creator Paredes, Veronica (author)

Core Title Marquee survivals: a multimodal historiography of cinema's recycled spaces

School School of Cinematic Arts

Degree Doctor of Philosophy

Degree Program Cinematic Arts (Media Arts and Practice)

Publication Date 08/24/2017

Defense Date 06/29/2015

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag Cinema,downtown Los Angeles,media historiography,Movie Theaters,multimodal scholarship,OAI-PMH Harvest,place,Race,Riots,South Broadway

Format application/pdf (imt)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Anderson, Steven F. (committee chair), Marez, Curtis (committee member), McPherson, Tara (committee member), Serna, Laura Isabel (committee member)

Creator Email vaparedes@gmail.com,veronicp@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c3-637809

Unique identifier UC11305178

Identifier etd-ParedesVer-3838.pdf (filename),usctheses-c3-637809 (legacy record id)

Legacy Identifier etd-ParedesVer-3838.pdf

Dmrecord 637809

Document Type Dissertation

Format application/pdf (imt)

Rights Paredes, Veronica

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA