The work offered for this PhD by Published Works charts the history of cinema exhibition in Britain from the late 1950s to the present. At the start of this period, cinemagoing as a form of public entertainment entered a long period of decline that was only arrested with the development and growth of multiplex cinemas in the 1980s and 1990s. Despite these changes, the feature film itself remained a culturally and commercially valuable artefact, though increasingly this meant the Hollywood film. Whilst due consideration is afforded to the technological changes in cinemas and the cinema apparatus, my work places the development of cinemagoing in a broad social, economic, cultural and political context, and explains how these issues impact upon on-going developments. In the late 1950s, cinemagoing declined partly in response to changing leisure habits, demographic shifts, the growth of consumer culture, television, and the widespread adoption of new broadcast technologies like home video and satellite. The multiplex returned feature films to cinemas, but was a definitively American commercial form closely associated with new forms of leisure and out-of-town retailing. There are also parallels between the context for development of the multiplex in the USA – suburbanisation, shopping malls and reliance on the motorcar – and developments in Britain in the last 30 years. To this end there is a specific emphasis on the development of the multiplex cinema as part of a wider narrative about the re-positioning of cinemagoing as a collective, public form of visual entertainment, in the period from the mid-1980s, in the context of some dramatic changes in the transient nature of capitalism and urban planning. From the early 1990s onwards there was a growing anxiety about the impact of out-of-town developments on Britain’s urban centres, and a concomitant and renewed emphasis on the importance of the urban core rather than the edge. Thus, the key to understanding the evolution of cinema exhibition today is to pay particular attention to urban planning as inherently ideological, shifting and changing in line with broader political, economic and social considerations.

nÃo hà / Esta dissertaÃÃo busca refletir sobre os diÃlogos entre fotografia e cinema, quando estas duas formas expressivas passam a criar pontos convergentes e a propiciar um entendimento diferenciado na utilizaÃÃo dos dispositivos. Isso gera um cenÃrio cada vez mais hÃbrido, com interferÃncias no tempo fotogrÃfico e no tempo cinematogrÃfico. Essas transformaÃÃes propiciam novas representaÃÃes da temporalidade, que passa a ser compreendida em um espaÃo onde as variaÃÃes do tempo causam um novo paradoxo: estamos diante do reconhecimento do anacronismo, em duraÃÃes mÃltiplas, tempos heterogÃneos e memÃrias entrelaÃadas. Esse atravessamento dos tempos â que sà à possÃvel por conta da sobrevivÃncia das imagens e das leituras que sÃo feitas sobre elas â proporciona uma quebra na progressividade temporal, uma vez que se apresenta como um operador de diferenciais do tempo de cada imagem, perpassando as fronteiras do movimento na imagem fixa e da fixidez da imagem em movimento. A partir da criaÃÃo de diferentes experiÃncias de fruiÃÃo, o espectador ativa novas camadas de percepÃÃo do tempo. Para tanto, analisaremos como o cinema de exposiÃÃo â expressÃo cunhada pelo crÃtico de arte contemporÃnea Jean-Christophe Royoux e aprofundada por Philippe Dubois â se opÃe ao cinema de projeÃÃo, num movimento que ocorre pela ocupaÃÃo de outros espaÃos de exposiÃÃo, como galerias de arte e museus. Produz-se assim uma leitura diferenciada do tempo e da temporalidade atravÃs da memÃria. AtravÃs da performance Ãcran Sensible, do fotÃgrafo e cineasta francÃs Alain Fleischer, a pesquisa procura mergulhar no espaÃo teÃrico que serve de embasamento para estas novas experiÃncias de fruiÃÃo e novas camadas de percepÃÃo do tempo e da memÃria, dialogando com os autores Philippe Dubois, Georges Didi-Huberman, Gilles Deleuze, AntÃnio Fatorelli, Mauricio Lissowisky e Katia Maciel. / This work intends to discuss about the dialogues between photography and cinema, creating intersections and making possible an understanding in regard to the uses of devices that, when imbricate, become hybrid, which result in interferences both in photographic and cinematographic times. These changes generate new representations of temporality, which start to be understood as a site of paradox to the variations of time. Anachronism is recognized, in its multiple durations, heterogeneous times and tangled memories. This crossing of times â which is only possible due the surviving of images and the readings made about them â makes possible a break of the temporal progression, since it is presented as a document that operates in the differentials of each image duration, permeating borders of movement in still image and fixity in moving images. Facing the creation of different experiences of enjoyment, the spectator can activate new levels to the perception of time. To accomplish these intentions, we will analyze how the exposition cinema â term proposed by Jean-Christophe Royoux and developed by Philippe Dubois â opposes to the cinema of projection, in a movement that happens when cinema occupy other spaces, like art galleries and museums. It produces a different perception of time and temporality, through memory. Our main focus is the performance Ãcran Sensible, by French photographer and filmmaker Alain Fleischer. The research intends to immerse the territory of theories that are the basis for these new experiences and new levels of perception of time and memory. We dialogue here with authors like Philippe Dubois, Georges Didi-Huberman, Gilles Deleuze, AntÃnio Fatorelli, Mauricio Lissowsky and Katia Maciel.