The history of Arthouse Cinema is 100 years old! with Professor Ross Melnick

Summary

This video explores the origins and evolution of Art House cinema, tracing its roots back to the early 20th century. It highlights the influence of European experimental films and the role of key figures like Samuel Roxy Rothafel in bringing foreign films to mainstream audiences in the United States. The rise of 'little cinemas' in the 1920s, particularly in New York, is discussed, along with how Art House theaters provided a space for avant-garde and foreign films that catered to elite audiences, shaping the cultural landscape of cinema.

Takeaways

• 😀 The history of Art House theaters dates back about 100 years, beginning around 1925.
• 😀 The origins of Art House theaters are linked to 'little cinemas' that evolved from 'little theaters'—performing arts venues in the 1920s.
• 😀 Little theaters were experimental, avant-garde spaces that pushed away from mainstream narratives and showcased performances outside of the typical commercial sphere.
• 😀 After World War I, a significant anti-German sentiment led to a boycott of German films in the U.S. during the 1920s.
• 😀 Samuel 'Roxy' Rothafel was one of the key figures who defied this anti-German sentiment by screening German films, including 'Madame Dubar' in his Capitol Theater.
• 😀 Roxy's Capitol Theater, one of the largest in the U.S. at 5,300 seats, became a prominent venue for foreign and experimental films, helping to introduce Art House cinema to a broader audience.
• 😀 Roxy's screenings of films like 'Cabinet of Dr. Caligari' and 'Nuk of the North' contributed to the rise of Art House cinema in the U.S. during the 1920s and 1930s.
• 😀 Art House theaters in the 1920s and 1930s were characterized by screenings of highbrow, foreign films aimed at elite audiences, not the general public.
• 😀 The term 'Art House' itself came later, but early Art House cinemas were known as 'shseeders,' a term indicating that audiences were guaranteed a seat at these specialized screenings.
• 😀 By the late 1940s and 1950s, Art House cinemas became more widespread and popular, ensuring that their seats were consistently filled with an eager, niche audience.

Q & A

What was the significance of the 'little Cinemas' that emerged around 1925?

The 'little Cinemas' were a response to mainstream cinema, influenced by 'little theaters' which were performing arts theaters dedicated to avant-garde, experimental performances. These cinemas primarily showed foreign, highbrow films, often outside of the traditional commercial narrative structure, aiming to create an elite cinema experience.

How did World War I influence the development of art house cinemas?

After World War I, there was a massive anti-German sentiment in the United States. This led to a boycott of German films. However, a few individuals, like Samuel 'Roxy' Rothafel, were willing to showcase foreign films despite the prevailing sentiment, thus laying the groundwork for the rise of art house cinemas.

Who was Samuel 'Roxy' Rothafel, and what role did he play in art house cinema?

Samuel 'Roxy' Rothafel was a German-American theater mogul who operated major theaters in New York, including the Capitol Theater. He is notable for breaking the anti-German film boycott by showing films like 'Madame Dubarry' and 'Dr. Caligari,' which introduced foreign, avant-garde cinema to a wider American audience.

What was the impact of the film 'Madame Dubarry' on the American cinema landscape?

'Madame Dubarry,' a German film, was one of the first to be shown in a major U.S. theater, the Capitol Theater, breaking the unofficial German film boycott. The film was marketed as a 'Cosmopolitan film,' and its success helped pave the way for the broader acceptance of foreign films in America.

Why were films like 'Dr. Caligari' and 'Nuk of the North' significant to the development of art house cinema?

'Dr. Caligari' and 'Nuk of the North' were among the first films that were shown in large theaters but were distinct from mainstream Hollywood productions. They were considered avant-garde and experimental, fitting into the art house genre by challenging conventional filmmaking techniques and focusing on niche, intellectual content.

What does the term 'Art House' refer to, and when did it come into use?

The term 'Art House' refers to cinemas that specialize in screening foreign, independent, avant-garde, and experimental films, often aimed at elite audiences. The term was coined later in the 20th century, after the 1940s and 1950s, when such cinemas became more popular and widespread.

How were the early art house cinemas different from traditional movie theaters?

Early art house cinemas, such as those that emerged in the 1920s, focused on screening foreign, highbrow, or experimental films rather than mainstream blockbusters. They catered to a more intellectual audience and were often located in larger cities, particularly New York, where they challenged the typical Hollywood narrative.

What role did Samuel Goldwyn play in the development of art house cinema?

Samuel Goldwyn, through his connections and influence in the film industry, was involved in the promotion of foreign films and helped support the growth of independent cinema. His involvement in the industry helped establish a broader platform for avant-garde and foreign films.

How did the size and capacity of theaters like the Capitol Theater influence the art house movement?

The Capitol Theater, with a seating capacity of 5,300, was a massive venue that defied the typical scale of art house cinemas. By showing experimental films like 'Dr. Caligari' and 'Madame Dubarry' in such large venues, it demonstrated that art house cinema could have wide appeal, even in traditional, mainstream theaters.

What does the term 'sh-seeders' mean in relation to early art house theaters?

In the 1930s and early 1940s, art house theaters were often referred to as 'sh-seeders,' a term derived from the idea that patrons were guaranteed a seat. This term reflected the growing demand for these alternative cinemas, which became more widespread in the late 1940s and 1950s, with the guarantee that their seats would be filled.