{"id":60964,"date":"2018-08-07T09:00:15","date_gmt":"2018-08-07T14:00:15","guid":{"rendered":"https:\/\/uwm.edu\/news\/?p=60964"},"modified":"2018-08-10T09:35:27","modified_gmt":"2018-08-10T14:35:27","slug":"movie-palaces-researcher-delves-into-influence-of-man-who-shaped-our-moviegoing-experience-uwm-jocelyn-szczepaniak-gillece","status":"publish","type":"post","link":"https:\/\/uwm.edu\/news\/movie-palaces-researcher-delves-into-influence-of-man-who-shaped-our-moviegoing-experience-uwm-jocelyn-szczepaniak-gillece\/","title":{"rendered":"Researcher delves into influence of man who shaped our moviegoing experience"},"content":{"rendered":"

Professors like UW-Milwaukee\u2019s Jocelyn Szczepaniak-Gillece are used to hard questions.<\/p>\n

But in the course of an hourlong interview to promote her first book, the forthcoming \u201cThe Optical Vacuum: Spectatorship and Modernized American Theater Architecture<\/a>,\u201d (Oxford University Press), one question becomes a stumbling block for this assistant professor of English and film studies: \u201cWhat\u2019s your favorite movie?\u201d<\/p>\n

\u201cOh my gosh. Oh my gosh. That\u2019s really hard,\u201d Szczepaniak-Gillece replied. \u201cCan I talk about my favorite movie from this summer?\u201d Indeed, she can \u2013 Debra Granik\u2019s \u201cLeave No Trace<\/a>.”<\/p>\n

Talking, teaching and writing about the movies in America have been among the film historian\u2019s primary pursuits since Szczepaniak-Gillece arrived at UWM in 2014, and even before then. In 2010, she began researching the life and work of Benjamin Schlanger<\/a> (1904-1971), whose architectural designs and strong opinions about cinema as art strongly influenced how we watch movies today.<\/p>\n

\"A
Benjamin Schlanger designed the Pix Theatre in White Plains, New York, with architectural firm Bianculli & Ghiani. Opened in 1935, the building still stands, but is no longer a theater.<\/figcaption><\/figure>\n

Though primarily an architect, Schlanger was deeply invested in cinema engineering, how people positioned themselves in theater chairs, the size of the movie screen and even how moviegoers behaved themselves when the house lights went down.<\/p>\n

He designed and advised on dozens of theaters across the eastern U.S. and abroad, presiding over the gradual transition from ornate movie palaces and kitsch-cluttered regional theaters to modern auditoriums where all eyes are drawn to the screen. Here, attendees can immerse themselves in a movie, undistracted by their immediate surroundings.<\/p>\n

\u201cThe central argument of my book is that the impact of film is not only limited to the text,\u201d Szczepaniak-Gillece said. \u201cIt\u2019s also about the space in which it\u2019s seen, it\u2019s about the ideologies under which it\u2019s developed.\u201d<\/p>\n

While the book is a historical one, Szczepaniak-Gillece thinks her argument, and research, is right for this moment. Milwaukee\u2019s Oriental Theatre, a movie palace built in 1927 \u2013 home to East-Indian design flourishes like six golden Buddhas, eight porcelain lions and two minarets \u2013 reopens after a major restoration and under new ownership by Milwaukee Film on Aug. 10. Apple has just become the world\u2019s first trillion-dollar business, and its iPads and iTunes make it easy to skip the theater.<\/p>\n

\"The
Built in 1962 and designed by Benjamin Schlanger, Cinema I & II continue to operate in New York City as City Cinemas 1, 2 & 3.<\/figcaption><\/figure>\n

\u201cThis is a moment that\u2019s ripe for people to reconsider the importance of the place where you\u2019re watching something,\u201d Szczepaniak-Gillece said, \u201cand how it affects your understanding of the text.\u201d<\/p>\n

Understand, first, what the movies meant to America in the early 1930s as Schlanger earned an architecture degree and began building his portfolio and writing dozens of journal articles about theater design and engineering.<\/p>\n

A film ticket was about 25 cents per person. Hollywood owned the movie studios and many of the movie theaters, and executives worried that if they didn\u2019t make going to the movies \u201ca big event,\u201d then the people wouldn\u2019t come.<\/p>\n

Schlanger loved cinema, Szczepaniak-Gillece said, but he didn\u2019t love the way that movie theaters, or \u201cexhibitioners\u201d as she calls them, screened Hollywood films.<\/p>\n

\u201cHe sees the movie palace, which is elaborate, ornate, over-the-top, exquisite, and Schlanger begins to realize that a movie palace is not proper for suitable immersion in a movie. You walk in and you\u2019re overwhelmed by the vastness of the space, how beautiful it is, how upper class it feels. If you can\u2019t forget your surroundings, he thinks you can\u2019t properly immerse yourself in a film.\u2019\u201d<\/p>\n

\"A
Fox Theatre Detroit, built in the late 1920s, is a former movie palace that now hosts live music and theater.<\/figcaption><\/figure>\n

In those days, theater technology evolved faster than theater architecture. Synchronized sound and improved projection equipment meant that theaters had to be rapidly renovated to meet consumer demand as film quality improved between the \u201920s and \u201930s. This helped Schlanger advance some of his early ideas, like removing the layers of velvet or velour \u201cmasking\u201d that once bordered movie screens, visually and literally distancing the screen from the audience.<\/p>\n

Szczepaniak-Gillece\u2019s book chronicles how a major cultural and economic force further elevated the renegade architect\u2019s influence: the Great Depression.<\/p>\n

\u201cAmerica\u2019s economic system is totally falling apart, and Hollywood is used to investment from Wall Street,\u201d Szczepaniak-Gillece explains. \u201cMovie attendance drops dramatically, but not as much as you might think; movies are still an affordable luxury for a lot of people.\u201d<\/p>\n

Suddenly, the chandeliers, velvet curtains, gilt paint and architectural extravagances \u201cbecome symbolic of the excesses of the Roaring \u201920s that got America into the Depression in the first place,\u201d Szczepaniak-Gillece said.<\/p>\n

Then World War II takes hold, jolting America out of the Depression and consuming lots of building supplies in support of the war effort.<\/p>\n

Movies matter in the \u201940s, but even more so in the \u201950s as veterans return to America, build homes and start families. Schlanger remains focused on making the movie theater a place where total immersion becomes possible and where cinema can be appreciated, Szczepaniak-Gillece said, for the art form he believed it to be.<\/p>\n

\"Two
Benjamin Schlanger designed Patriot Theatres in Williamsburg, Virginia, which boast several distinctions. He designed them to show only one film, the historical drama \u201cWilliamsburg – The Story of a Patriot.\u201d The film, shown continuously since its 1957 debut, is the longest running motion picture in history.<\/figcaption><\/figure>\n

His innovations take greater hold in the \u201950s. Szczepaniak-Gillece counts among them the move to wider screens, theater chairs to confine the viewer and direct attention to the screen and theater walls uncluttered by artwork, drapery and other decorations.<\/p>\n

As the vestiges of the movie palace are stripped away, American moviegoers increasingly become a version of Schlanger\u2019s ideal spectator.<\/p>\n

\u201cThat\u2019s the true cinephile: Somebody who sits still, who pays attention, who is quiet and doesn\u2019t get up and move around during the movie,\u201d Szczepaniak-Gillece said. \u201cIt\u2019s useful for business and it\u2019s useful for making people respect the product that you\u2019re providing.\u201d<\/p>\n

In that way, Schlanger was both a renegade and a conformist. His designs helped create a code of civic behavior for moviegoers in the \u201950s and \u201960s. Reclining seats and cell phones give today\u2019s audiences more control over their cinema experience, but Schlanger\u2019s influence still looms.<\/p>\n

\u201cIf we don\u2019t think about theater architecture now, that\u2019s in large part due to his work,\u201d Szczepaniak-Gillece said.<\/p>\n

But we should think about it, she added, noting that this is what the book is all about \u2013 and something that her students consider each time they screen a film in one of her courses.<\/p>\n

\u201cEven in this moment when we\u2019re told that film is dying and the future belongs to prestige television and that all young people care about is YouTube videos, I see something completely different at UWM,\u201d Szczepaniak-Gillece said. \u201cMy students are really interested in the importance of film for understanding what it means to be an American and to understand the history of the United States.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

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