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Founded by James Joyce, when he was only 27 years old, the Volta Cinematograph Theatre, Ireland's first dedicated cinema, holds a unique place in literary history. The Volta was not only a pioneering venue for early cinema in Ireland but also an intriguing episode in Joyce's eclectic career, offering insight into his multifaceted genius and entrepreneurial spirit.
Despite being more widely known for his groundbreaking literary works, most notably Ulysses, Joyce ventured into the realm of business in 1909 with the Volta, exhibiting a keen entrepreneurial spirit alongside his literary ambitions. The Volta aimed to introduce Dubliners to the wonders of cinema, which was still a novel entertainment medium at the time.
The same way Joyce would rely on the support of others a decade later with the publication of Ulysses, his venture into the cinema business was aided by likeminded entrepreneurs, who shared Joyce's vision and ambition. The key players were:
Roberto Prezioso
Born on May 30, 1869, in Trieste, then part of the Austro-Hungarian Empire, Roberto Prezioso was an Italian citizen who later acquired Austrian citizenship in 1896. He married Bice Cozzi, and they had two sons, Lucio (born in 1897) and Sergio (born in 1901). Prezioso worked as a journalist and became the political director of "Il Piccolo," a prominent Triestine newspaper. He was also known for his irredentist views, advocating for Trieste's annexation to Italy. Prezioso was a student of Joyce at the Berlitz School and later became a close friend, inviting Joyce to contribute articles to "Il Piccolo della Sera."
Antonio Machnich
A pioneering figure in Trieste's early cinema scene, Antonio Machnich owned several cinemas and operated a carpet shop in the city. Alongside his wife, Caterina, Machnich recognized the potential of the burgeoning medium of cinema. Their partnership with Joyce was part of a broader plan to expand cinema operations beyond the Austro-Hungarian Empire.
Giovanni Rebez
Another significant entrepreneur in Trieste's entertainment industry, Giovanni Rebez managed the Salone Edison cinema and was involved in the leather trade, dealing in tanned hides.
Joyce's involvement with the Volta was a brief but significant chapter in his life. As Kevin Birmingham highlights in his book "The Most Dangerous Book: The Battle for James Joyce's Ulysses" Joyce's foray into cinema was both ambitious and indicative of his broader interests in contemporary culture and technology. Birmingham writes, “Joyce believed that movies could democratize culture, offering art to the masses, much like he hoped his own work would one day do.” This vision reflected Joyce’s progressive outlook, always looking for new ways to engage and elevate the common experience.
The theater opened on Monday December 20th 1909. Joyce was instrumental in selecting its initial repertoire, showcasing a mix of Italian, French, and British films. Despite his enthusiasm and the promising start, the Volta Cinematograph struggled to attract a steady audience. The conservative tastes of Dubliners, who were initially hesitant about this new form of entertainment, contributed to the theater's financial difficulties. Within six months, Joyce’s venture into cinema ended, and he moved on to other pursuits, including the continued development of his literary career.
The Volta Cinematograph may have been a short-lived enterprise, but it had a lasting impact on Joyce. His brief foray into cinema influenced his narrative techniques in Ulysses. The episodic structure of Ulysses, its montage of different styles and voices, and the vivid, almost cinematic detail of scenes, owe something to Joyce’s experience with the early film industry. Indeed, Ulysses can be seen as a literary counterpart to the cinematic innovations of the time, with its stream-of-consciousness technique and fragmented structure resembling a montage of thoughts and experiences.
Furthermore, Joyce’s exposure to the visual storytelling of cinema enriched his descriptive prowess. The detailed, sensory-rich passages in Ulysses often evoke a vivid, almost visual experience for the reader, similar to the immersive quality of film. Joyce’s prose capture the immediacy and intimacy of film, drawing readers into the world of his characters with a painterly precision.
Pennyes, Robert Dubsky & Arthur Ryan
The 420-seat venue located at 45 Mary Street was renamed the LYCEUM in 1921. It closed in 1948 and was demolished in the 1960s. Only the upper floor façade survives. In June 1969 Arthur Ryan opened the first Penneys in its place, where it still stands today. My godfather and uncle, Robert Dubsky, was the General Manager of Penneys / PRIMARK in China for eight years. Robert and Arthur Ryan remained in contact until his passing in 2019 - his hearse drove by the shop on Mary Street in respect of his life's work and the incredible company he built - all of which started at the original location of the Volta Cinematograph Theatre.
Welcome to the journey.
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