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Since the early 1900s, when the first moving images flickered on the screens of storefront nickelodeons, going to the movies has been an integral part of life across America. By the 1950s, there were over 230 theaters in southern New Jersey, ranging from lavish palaces like the 2,000-seat Stanley in Camden to modest venues like the 350-seat Little in Haddonfield. Today, sadly, less than a dozen remain standing, and most of those are now used for other commercial purposes. Only the Broadway in Pitman continues to operate as the last of the original motion-picture palaces. South Jersey Movie Houses is a pictorial tour of the theaters that once raised their curtains to audiences across the southern part of the state. It offers a nostalgic look at their neon marquees and silver screens, bringing back memories of Saturday matinees, 3-D glasses, and movie date nights.
Since the early 1900s, when the first moving images flickered on the screens of storefront nickelodeons, going to the movies has been an integral part of life across America. By the 1950s, there were over 230 theaters in southern New Jersey, ranging from lavish palaces like the 2,000-seat Stanley in Camden to modest venues like the 350-seat Little in Haddonfield. Today, sadly, less than a dozen remain standing, and most of those are now used for other commercial purposes. Only the Broadway in Pitman continues to operate as the last of the original motion-picture palaces. South Jersey Movie Houses is a pictorial tour of the theaters that once raised their curtains to audiences across the southern part of the state. It offers a nostalgic look at their neon marquees and silver screens, bringing back memories of Saturday matinees, 3-D glasses, and movie date nights.
For decades, Newark and its environs have been lit up by the bright neon lights of grand movie palaces and theaters. In the early 20th century, stages that were originally built for vaudeville acts were turned over to silver screens and the flickering images from motion-picture projectors. This new technology ushered Hollywood movies to the East Coast and made cinema accessible for locals to enjoy. Movie houses and palaces provided moviegoers a new type of viewing experience. With ornate interiors and rich architecture, these institutions offered their patrons a beautiful setting to watch classic films. Over time, these establishments evolved and began hosting burlesque shows and rock concerts. Today, many of these downtown landmarks have been demolished, replaced, or adaptively renovated into the modern multiplexes of today. Images of the Paramount and the Mosque Theater help Movie Houses of Greater Newark tell the story of an era when going to the movies was an event.
Waltzer and Wilk have compiled almost fifty stories about the state's southernmost counties. Although the focus is on Atlantic City and its remarkable people, outsize structures, and quirky events, the storytelling ranges across the wider region to provide an insiders look at history as it was being made. You'll encounter gangsters and gamblers, baseball hitters and hurricanes, famous piers and hotels, landmark theaters and eateries, splashy events and unheralded oddities 3/4 in sum, a cross-section of the regions character and characters.
Most of the time, there is nothing remarkable about a movie theater today; but that wasn't always the case. When the great American movie palaces began opening in the early 20th century, they were some of the most lavish, stunning buildings ever seen. However, they wouldn't last -- with the advent of in-home television, theater companies found it harder and harder to keep them open. Some were demolished, some were converted, and some remain empty to this day. After the Final Curtain: The Fall of the American Movie Theatre will take you through 24 of these magnificent buildings, revealing the beauty that remains years after the last ticket was sold.
These vintage and contemporary images of Baltimore movie palaces explore the changing face of Charm City with stories and commentary by filmmakers. Since the dawn of popular cinema, Baltimore has been home to hundreds of movie theaters, many of which became legendary monuments to popular culture. But by 2016, the number of cinemas had dwindled to only three. Many theaters have been boarded up, burned out, or repurposed. In this volume, Baltimore Sun photojournalist Amy Davis pairs vintage black-and-white images of downtown movie palaces and modest neighborhood theaters with her own contemporary color photos. Flickering Treasures delves into Baltimore’s cultural and cinematic history, from its troubling legacy of racial segregation to the technological changes that have shaped both American cities and the movie exhibition business. Images of Electric Park, the Century, the Hippodrome, and scores of other beloved venues are punctuated by stories and interviews, as well as commentary from celebrated Baltimore filmmakers Barry Levinson and John Waters. A map and timeline reveal the one-time presence of movie houses in every corner of the city, and fact boxes include the years of operation, address, architect, and seating capacity for each of the 72 theaters profiled, along with a brief description of each theater’s distinct character.
Over the past 110 years, there have been more than 100 movie theaters in Washington and its suburbs, from tiny nickelodeons and mini-auditoriums seating fewer than 100 people to mammoth palaces and megplexes seating thousands. . . . In this book, we will address the many varieties of the moviegoing experience" -- Introduction, page 7.
Winner - 2022 Richard Wall Memorial Award, Theatre Library Association Beginning in the 1920s, audiences around the globe were seduced not only by Hollywood films but also by lavish movie theaters that were owned and operated by the major American film companies. These theaters aimed to provide a quintessentially “American” experience. Outfitted with American technology and accoutrements, they allowed local audiences to watch American films in an American-owned cinema in a distinctly American way. In a history that stretches from Buenos Aires and Tokyo to Johannesburg and Cairo, Ross Melnick considers these movie houses as cultural embassies. He examines how the exhibition of Hollywood films became a constant flow of political and consumerist messaging, selling American ideas, products, and power, especially during fractious eras. Melnick demonstrates that while Hollywood’s marketing of luxury and consumption often struck a chord with local audiences, it was also frequently tone-deaf to new social, cultural, racial, and political movements. He argues that the story of Hollywood’s global cinemas is not a simple narrative of cultural and industrial indoctrination and colonization. Instead, it is one of negotiation, booms and busts, successes and failures, adoptions and rejections, and a precursor to later conflicts over the spread of American consumer culture. A truly global account, Hollywood’s Embassies shows how the entanglement of worldwide movie theaters with American empire offers a new way of understanding film history and the history of U.S. soft power.
Author Robert L. Seltzer’s second memoir examines a complicated father-son relationship as Seltzer learns how to be a father to a son with Asperger’s. The text presents two different timelines: the first captures a year in the life of father Robert and adult son Chris as they navigate their relationship and find ways to connect through movies, books, and music; the second timeline follows father and son from Chris’s birth through the trial of diagnosis until the timelines meet up in the present day. Seltzer describes himself as “a man fleeing his demons” and his son as “a boy still wrestling his.” This beautifully written memoir is a raw and honest look at a struggle many families will relate to.
Some issues include separately paged sections: Better management, Physical theatre, extra profits; Review; Servisection.