PRINT February 2013


Gabriele Pedullà’s In Broad Daylight

Hiroshi Sugimoto, Castro Theater, 1992, gelatin silver print, 16 5/8 x 21 3/8". From the series “Theaters,” 1976–2001.

In Broad Daylight: Movies and Spectators After the Cinema, by Gabriele Pedullà, translated by Patricia Gaborik. London: Verso, 2012. 192 pages.

GABRIELE PEDULLÀ’S charming and highly readable if ultimately frustrating little book In Broad Daylight tackles a crucial subject—and one that demands more attention: the recent transformation of film spectatorship and of the places where we watch movies. Indeed, at this point, even to say places is to invoke old-fashioned habits: Situations or platforms may be more evocative of contemporary trends in moving-image viewing. Perdullà’s book traces the rise of the movie theater as we know it, only to anatomize its demise with the onset of the electronic and then digital channeling of images.

If the book’s title is a bit ambiguous, its subtitle provides clarity: Movies and Spectators After the Cinema. The point to be debated, of course, is

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