Breaking into the Movies: Pedagogy and the Politics of Film
2001; University of Pittsburgh Press; Volume: 21; Issue: 3 Linguagem: Inglês
ISSN
0731-6755
Autores Tópico(s)Cinema History and Criticism
Resumosection of Providence. Every Saturday afternoon, my friends and I would walk several miles to the business district, all the while making plans to get into a theater without having to pay. None of us could afford to buy tickets, so we had to be inventive about ways to sneak into the theater without being caught. Sometimes we would simply wait next to the exit doors, and as soon as somebody left the theater we would rush in and bury ourselves in the plush seats, hoping that none of the ushers spotted us. We were not always so lucky. At other times, we would pool our money and have one person buy a ticket. At the most strategic moment, he would open the exit door from the inside and let us in. Generally, we would sit in the balcony so as to avoid being asked for a ticket if the ushers came along and spotted us. Hollywood film engendered a profound sense of danger and other ness for us. Gaining access to the movies meant we had to engage in illicit behavior, risking criminal charges or a beating by an irate owner if caught. But the fear of getting caught was outweighed by the lure of adventure and joy. Once we got inside the theater we were transported into an event. We were able to participate in a public act of viewing that was generally restricted for kids in our neighborhood because films were too expensive, too removed from the daily experiences of kids too poor to use public
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