Cinema’s milieux: governing the picture show in the United States during the Progressive era

The regulation of American cinema during the Progressive era was an exercise in governmentality with multiple spatial rationalities operating through networks at multiple scales. Although produced and distributed nationally, moving pictures were consumed locally. The National Board of Censorship governed movie content from New York, where most major film producers were headquartered at that time, yet it was dependent upon the activities of social reformers and officials in cities across the country in monitoring manufacturers’ compliance with its decisions. But as those correspondents often regarded the image on the screen as intimately associated with other aspects of the movie-going experience, local efforts to regulate film often went further, depending upon local concerns about spectators. This paper explores how cinema was problematized in Atlanta and Minneapolis, two regional centers with different sexual and racial politics. It does so by building on recent discussions of spatial rationalities of moral reform efforts, and in this case, how tensions between generative and vitalist spatial rationalities conspired to produce a variable geography of cinema regulation that was networked and multi-scalar, and how these experiments in regulating a new medium of visual communication began to articulate a distinctive perceptual rationality of government.