In Fuller’s chapters 4, 5, and 6, we examine first (in chapters 4 and 5) the differences between the desires and needs of urban audiences and rural audiences, and then the subject that we have definitely already examined in class which is the development of the “movie fan.”

Firstly, when comparing the differences between rural and urban audiences we see the competition between narrative cinema and that of the “scenics,” the educational films, and the advertisement films.  At first reading, there were a lot of concepts that surprised me.  The desire for scenics instead of narrative seemed odd to me, and I couldn’t believe that people would pay just to see advertisement films (although I have stayed at home and watched the “Magic Bullet” infomercial more than once).  That said, it would make sense that a rural community would like to see the scenics that they do not get to see, and advertisements that aren’t already plastered all over the city like the urban audience sees.  This difference in communities also became present in viewing habits.  Urban audiences started to form “serious movie-watchers” who emphasized dark rooms, quiet theaters, and a deep focus on the film.

The idea of the fan is one that we have already begun to examine in class (starting with our very first screening of “The Purple Rose of Cairo”).  I hope to discuss further the idea of the quintessential movie fan as this was a concept that I am not sure I fully understood.