Across the Balkans, in cities such as Belgrade, Bucharest, or Sofia, the turn of the century gave rise to the boulevard, the communal park, and a variety of leisurely and entertainment activities. Modernity and its zeitgeist were increasingly present through a number of factors: the paving of the streets; introduction of electrical lighting; erection of new buildings; investment in public transport and railway systems; as well as the organization of public and social life through the opening of coffeehouses and restaurants, theatrical and music performances, and several sports, music, and cultural associations. A new urban class started to emerge, which enjoyed the experience of modernity collectively and constituted some of the early cinema audiences in the region. Tsivian found that, in the Russian context, cinema was a space where different social groups could provisionally coexist (1998, 31). While there is little empirical evidence on the identities and social class of early cinema audiences in the Balkans, the announcements in the local press, brief descriptions of film shows, and other literary texts indicate these were quite heterogenous: comprising urban dwellers, families, school children and teachers, intellectuals and literary personas, members of the royal family, and military personnel.