Description
From the 1905 opening of the wildly popular, eponymous Nickelodeon within the city’s downtown to the subsequent outgrowth of nickel theaters in nearly all of its neighborhoods, Pittsburgh proved to be perfect for the movies. Its urban industrial environment was once a melting pot of ethnic, economic, and cultural forces—a “wellspring” for the development of movie culture—and nickelodeons offered citizens an reasonably priced respite and handy escape from the harsh realities of the industrial world.
Nickelodeon City provides a detailed view throughout the city’s early film trade, with insights into the politics and business dealings of the burgeoning industry. Drawing from the pages of the Pittsburgh Moving Picture Bulletin, the first known regional trade journal for the movie business, Michael Aronson profiles the major promoters in Pittsburgh, in addition to many lesser-known abnormal theater owners, suppliers, and patrons. He examines early film promotion, distribution, and exhibition, and reveals the earliest varieties of state censorship and the ensuing political lobbying and manipulation attempted by members of the movie trade. Aronson also explores the emergence of local exhibitor-based cinema, during which the exhibitor assumed regulate of the content and production of film, blurring the lines between production, consumption, and local and mass media.
Nickelodeon City offers a captivating and intimate view of a city and the socioeconomic factors that allowed an infant film industry to blossom, in addition to the unique cultural fabric and neighborhood ties that kept nickelodeons prospering even after Hollywood took the industry by storm.
Nickelodeon City provides a detailed view throughout the city’s early film trade, with insights into the politics and business dealings of the burgeoning industry. Drawing from the pages of the Pittsburgh Moving Picture Bulletin, the first known regional trade journal for the movie business, Michael Aronson profiles the major promoters in Pittsburgh, in addition to many lesser-known abnormal theater owners, suppliers, and patrons. He examines early film promotion, distribution, and exhibition, and reveals the earliest varieties of state censorship and the ensuing political lobbying and manipulation attempted by members of the movie trade. Aronson also explores the emergence of local exhibitor-based cinema, during which the exhibitor assumed regulate of the content and production of film, blurring the lines between production, consumption, and local and mass media.
Nickelodeon City offers a captivating and intimate view of a city and the socioeconomic factors that allowed an infant film industry to blossom, in addition to the unique cultural fabric and neighborhood ties that kept nickelodeons prospering even after Hollywood took the industry by storm.
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