This article analyses two British film comedies, The Smallest Show on Earth (1957) and the Welsh-language film Coming Up Roses (Rhosyn a Rhith) (1986), both of which feature projectionists as significant characters. It focuses on the implications of the projectionist as a hero within the narratives, on his portrayal and on the dramatisation of his labour. I examine the paradox of his inhabiting a central narrative role when his professional one requires his isolation and invisibility, when his own attention is funnelled towards the on-screen diegesis he is concerned to project and, moreover, when his obsolescence is mandated by cinema closure. The films' promotion of exhibition itself as object and comedic spectacle is interrogated. Within this, I attend closely to diegetic films: to how the fictive screen relates to the wider text and to how it figures or expresses its concerns and enlarges its meanings. A related area of enquiry is how institutions of cinema mirror and ‘project’ wider social issues and how cinema shapes, and is shaped by, its audiences. How does the restoration of the projectionist's libido, and his rehabilitation through marriage, relate to cinema's place within social, cultural and political life?
Komagata’s “paperscapes”
