Interstitial film viewing: community exhibition in the twenty-first century

Abstract

In the twenty-first century, we live in an era in which the film object (more often than not the traditionally formatted 1.5–2-hour-long feature film) enters the digital space of the computer screen to be viewed, paused, re-edited and mashed-up while, at the same time, large audiences continue to attend standardized movie theatres, where their only control over film exhibition is in the decision to look or not look at what the projector offers. Community film exhibition has long acted as an interstitial viewing practice located between public movie theatre and private home-viewing contexts. This article examines case studies from Latin America and New Zealand to determine the way in which community exhibition operates in the twenty-first century, with particular emphasis on the alternatives it offers to commercial exhibition circuits, the engagement it fosters with local audiences and its use of new digital technology.

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