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The operation of large-capacity motion-picture theaters and concert halls built in the USSR in recent years is discussed. The technical facilities for motion-picture presentation in such theaters are examined.

Spectator comfort in a cinema is of utmost importance. Visual, auditory, and seating comfort are the design elements one must take into account for the successful construction of a well balanced cinema theater. Parameters are discussed such as: perspective reproduction, image distortion, fine detail rendering, color and contrast reproduction, acoustical auditorium transfer characteristics, background noise, spectators' head clearance, seating area limits, and others. The CSTCF (Commission Superieure Technique du Cinema Francais) controls the quality of cinema theaters and awards a quality label to those cinemas that comply with the quality conditions specified in the French cinema standard.

Large-screen cinemas are defined as those in which the screen appears large to the audience. This condition is approached when the screen occupies 60° of the viewer's field of vision horizontally and 30° vertically. Sightlines in large-screen cinemas should be calculated, based on an eye-level-to-top-of-head parameter of 10 to 11 in (25.4 to 27.9 cm). Oblique viewing angles should not exceed 45° to the significant action area of the screen. Projection angles and their limits, comfort, screen brightness for large screens, and basic acoustic requirements are commented on. Formulas for single-row sight line determination are included.

Orientador: Noel dos Santos Carvalho Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes Resumo: Campinas, metrópole e importante município do estado de São Paulo, possui oito complexos de exibição cinematográfica que atendem ao circuito comercial e estão localizados em shopping centers, tendo uma das melhores relações de habitantes por sala de exibição do país. Propõe-se, como objeto de pesquisa, o mercado cinematográfico de exibição comercial atual de Campinas, com o objetivo de entender como se configura e como as características e particularidades do município influenciam, ou não, na atuação dos exibidores aqui inseridos. Com o parque exibidor nacional digitalizado, surgem novas demandas e discussões sobre as configurações das salas; é preciso investir em novos conteúdos e novos atrativos. O município possui uma grande variedade de empresas exibidoras, com diversas opções de configurações de salas e tecnologias presentes, já que a população frequenta muito os cinemas e se mostra disposta a pagar por um serviço diferenciado. Diante disso, realizamos o mapeamento e análise dos espaços de exibição da cidade, buscando identificar o perfil das empresas exibidoras e sua implantação na cidade, localização dos cinemas, público-alvo, estruturação dos complexos e configuração das exibições, observando como a indústria de exibição de filmes se comporta no cenário tecnológico e de consumo atual. Além disso, outro recurso metodológico é o acompanhamento e a análise da programação dos complexos, observando as características dos títulos exibidos, ocupação das salas, tempo de permanência dos filmes, a bilheteria em cada complexo, entre outros aspectos. Os multiplexes compõem uma inovação de paradigma organizacional, sendo responsáveis pelo impulsionamento de público e de diversos serviços e ofertas de produtos que antes não eram usuais em um cinema. As características de cada local influenciam na programação das salas, onde cada multiplex apresenta um perfil diferente cujo levantamento dos dados leva a diversas possibilidades de análise. Ao longo da pesquisa, o cenário de exibição de Campinas passou por reconfigurações que demonstram como as redes de cinema precisam pensar localmente suas estratégias de acordo com cada complexo Abstract: Campinas, a metropolis and an important municipality of the State of São Paulo, has eight cinema exhibition complexes that serve the commercial circuit and are located in shopping centers, having one of the best habitant per exhibition room relations in Brazil. It is hereby proposed, as an object of research, the current commercial cinema exhibition market of Campinas, with the objective of understanding how it is configured and how the characteristics and particularities of the city may influence, or not, in the acting of exhibitors herein inserted. With the digitization of national cinema theatres, new demands and discussions about the configuration of cinema rooms arise; an increase in investments in new content and attractions is needed. The city of Campinas houses a great number of exhibiting companies, with diverse options of theater configurations and present technologies, since the population does frequent the cinemas and shows disposition to pay for a differentiated service. In face of that, we do the mapping and analysis of the city¿s exhibition spaces, seeking to identify the profile of exhibiting companies and their deployment within the city, cinemas locations, target audience, structuring of complexes and configuration of exhibitions, observing how the film exhibition industry behaves in the technologic and consuming scenario of today. Beyond that, another methodology resource is the monitoring and analysis of the complexe¿s programming, observing the characteristics of exhibited titles, occupation of rooms, length of stay of titles, box office in each complex, among other aspects. Multiplexes make up an organizational paradigm innovation, being responsible for audience boost and several services and product offers that weren't usual before in a cinema. The characteristics of each place influence the programming of the rooms, where each multiplex presents a different profile whose data surveys lead to many possibilities for analysis. Throughout the research, the exhibition scenario of Campinas went through re-configurations that demonstrate how cinema networks need to think their strategies locally with each complex Mestrado Multimeios Mestra em Multimeios CAPES 1844980

The THX® Sound System is installed in over 300 premium motion‐picture theaters and dubbing facilities worldwide. An important part of the program is specified room acoustics, including both local acoustical environment of loudspeakers and global room acoustics issues including background and intrusive noise control and reverberation time criteria. Acoustical standards established for this program will be examined, and the methods of measurement will be explained. Time‐honored techniques such as using appropriate measurement microphones for the sound fields encountered, as well as time and space averaging, are applied in new, more portable, forms.

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Purpose – This article aims to explore how mainstream popular cinema, usually a vehicle of effortless and accessible entertainment, produces or reproduces prevailing discursive constructs about managers, management and corporate firms and provides a cultural reading of organizations. Using a post-structuralist framework, it seeks to deconstruct the representations of managers in several popular films. It aims to propose that the analysis of this representation allows complex questions about the nature of power in organizations and the "opportunity costs" of resistance to be addressed. Design/methodology/approach – This article focuses on the discursive formation of managers and employees in popular films. The films were chosen using a popularity measure on the Internet Movie Database (www.imdb.com) and treated as "visual narratives". A variation of Rose's discourse analysis method was used. To critically view the films, a post-structuralist perspective was adopted, in which questions of power, gender and sexuality are seen as fundamental. Gender is a discursive practice that becomes material through the power and resistance subjectified by the human body while "truth" is referenced through specific words and images – so constructed by the "reality" of popular culture. Findings – The analysis reveals two seemingly competing discourses surrounding the representations of managers that encompass both a description of power and the resistance to this power. In this sense, although popular films position subjects – managers and those managed – in very specific ways, at the same time their construct of power is highly contextual and open to change. This finding leads to, first, a Foucauldian understanding of power and, second, a reconceptualization of power and resistance as one and the same construct, power/resistance, that may help address the "where", "who", and "why" of resistance that has previously been ignored. Originality/value – The article brings popular culture to center stage in organization studies and argues that by not paying attention to its power to inform, society is cut off from valuable knowledge about how management is "done". The article also reveals that although on surface the representations of managers in films seem to reinforce the dominant discourse of the "macho" manager, at the same time, a second representation – the bright, eager, usually working-class employee who wants to emulate the boss but then "sees the light" and becomes a "hero" – is offering a critique of this construct, making popular culture potentially subversive. ABSTRACT FROM AUTHOR] Copyright of Equality, Diversity & Inclusion is the property of Emerald Group Publishing Limited and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.) 31 1 10 26

La Sala Edison (anomenada popularment “Can Cusí”) va ser un cinema-teatre construït a Figueres a principis del S. XX, amb capacitat per a 1000 persones. A partir de la descripció i estudi de l’edifici es vol analitzar també la societat de l’època, la vida i costums dels habitants de Figueres i de la província de Girona. També es vol incidir en la importància de l’edifici històric i en la necessitat de la seva conservació, tot apuntant a nous usos del local.

Màster Oficial en Gestió Cultural, Universitat de Barcelona. Facultat de Ciències Econòmiques i Empresarials , curs: 2010-2011, Tutor: Albert de Gregorio Prieto, Amics del Cinema consisteix en la proposta de creació i gestió d'un centre de cinema, entès com a espai a on no només es poden veure pel·lícules d'autor i altres tipus d'obres audiovisuals sinó que també s'hi ofereixen diverses activitats relacionades amb aquest art, de manera que el públic pot tenir una experiència cinematogràfica completa.

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L’objecte del present projecte és estudiar la viabi litat d’un nou sistema de pagament de les entrades de cinema basat en el paga ment de minuts cinematogràfics en comptes de l’adquisició d’entrad es a preu únic per a totes les pel·lícules. Està orientat principalment a la dismi nució de preus, l’optimització de les cues i la millora del feedback espectador-produ ctores

Tutors: Albert Blasco i Jordi Oller Treball de fi de grau en Turisme i Gestió del Lleure

The famous psychologist, Professor Munsterberg, wrote a few years ago a book on motion pictures, and he there asserted that the production of motion pictures by the best companies had graduated us an Art to rank coequal with painting, sculpture and music. By attention to mode and variation of lighting, many new psychological appeals can be made, including the portraying of the thought images in the minds of the characters of the play in a way that cannot be duplicated on the theater stage. Besides being one of the fine arts, the motion picture art has become the greatest educational institution in the world. Very special lighting is needed for scientific films, for ultra-rapid motion picture work, and for the several new color processes in motion picture production. Not only is the moving picture industry the greatest educational institution, but it is also one or our foremost industries. Since Edison's and Jenkin's invention of motion picture devices of only a score or so years ago, the industry has leaped to fourth place in the United States. There is spent annually three to four hundred million dollars by the people of the United States for the privilege of attending the motion picture theaters. The daily attendance is said to average between ten and twenty millions of people. Of the fifty thousand motion picture theaters in the world, there are about twenty thousand in the United States, and as a producing center, the United States is the greatest in the world. The sunshine of California has built up a major producing center in and near Los Angeles. (In this center, over $12,- 000,000 arc annually spent for motion picture production, and this gives employment to about 25,000 people.) Again the importance of light in relation to expense of production may be judged from the following statement made by Mr. G. McL. Baynes (of the English Hepworth Mfg. Co., see Moving Picture World, page 2334, December 25th, 1915); “As to photographic difficulties encountered in outdoor work in England, it is ridiculous to say that they cannot make pictures there. It is true, production is more expensive, perhaps twice us much because we have to wait for the Sunshine.” Thus in foggy England, the difficulties are much greater on account of poor light than in the West or East of the United States. The invention of the high amperage white flame are lamps and carbons and of other artificial light sources such as the daylight gas filled tungsten lamps and the mercury arc lamps, have eliminated these expensive waits for sunshine. The home-center of the motion picture industry in the East is again building up rapidly. These new studios are especially to be found in or near New York City, and to a lesser degree near other large centers of population, as for example, Chicago, Philadelphia, Cleveland, etc. Scenic interest, such as at Ithaca and in Florida, is another industrial factor in the location oi motion picture plants. The increase in artificial light facilities lias been an important economic factor in this Eastern movement which is being accelerated by the continual increase in the extraordinary salaries which are paid the motion picture artists. The cost of production of an average negative of one reel is said to be about $1,000, and of this it is certainly economy to spend one or two per cent. on securing the best lighting.

This paper develops an econometric model of industry dynamics for concentrated markets that can be estimated very quickly from market-level data on demand shifters and the number of producers. We show that the model has an essentially unique symmetric Markov-perfect equilibrium that can be calculated from the xed points of low-dimensional contraction mappings. We characterize the model's identi cation and extend Rust's (1987) nested xed point estimator to account for the observable implications of mixed strategies on survival. We illustrate the model's application with ten years of County Business Patterns data from Motion Picture Theaters in 573 Micropolitan Statistical Areas.

This paper reviews the benefits of silverless, cyan dye tracks to the motion picture industry, the status of red reader deployment in motion picture theaters, the effect of red reader characteristics on the sonic performance of silver and dye tracks, and the need for the intermediate step of first moving the industry to high-magenta color balance reapplicated sound tracks before changing over to silverless cyan dye tracks. In addition, an updated high-magenta and cyan dye track industry road map is presented.

This paper develops an econometric model of industry dynamics for concentrated markets that can be estimated very quickly from market-level panel data on the number of producers and consumers using a nested fixed-point algorithm. We show that the model has an essentially unique symmetric Markov-perfect equilibrium that can be calculated from the fixed points of a finite sequence of low-dimensional contraction mappings. Our nested fixed point procedure extends Rust's (1987) to account for the observable implications of mixed strategies on survival. We illustrate the model's empirical application with ten years of County Business Patterns data from the Motion Picture Theaters industry in 573 Micropolitan Statistical Areas. The results are suggestive of fierce competition between theaters in the market for film exhibition rights.

In the early years of the twentieth century, the unique new medium of motion pictures was the focus of significant theorization and experimentation at the fringes of the American advertising industry. Alongside the growth of the nickelodeon, and the multiple shifts in the American cinema's business model in the 'transitional era,' various individuals at the margins of the advertising industry attempted, and most often failed, to integrate direct consumer-goods advertising regularly into motion picture theaters. Via techniques as diverse as the glass slide, the commercial trailer, and the advertising wall-clock, cinema patrons of the 1910s witnessed various attempts by merchants and manufacturers to intrude upon their attention in the cinema space. Through research in the trade presses of the cinema, advertising, and various consumer-goods industries, along with archival ephemera from the advertising companies themselves, this dissertation explores these various on and off-screen tactics for direct advertising attempted in silent cinemas, and their eventual minimization in the American cinema experience. Despite the appeal of the new, popular visual medium of cinema to advertisers, concerns over ticket prices, advertising circulation, audience irritation, and the potential for theatrical 'suicide-by-advertising,' resulted, over a mere fifteen years, in the near abandonment of the cinema as an advertising medium. As a transitional medium between the 19th century forms of print and billboarding, and 20th century broadcasting, the silent cinema was an important element in the development of modern advertising theories.

As the industry moves to digital delivery of sound tracks to motion-picture theaters, attention shifts to the performance of the B-Chain of the sound system, consisting of room and loudspeaker equalization, power amplifiers, crossovers and loudspeakers, screen loss, and auditorium acoustics. After choosing appropriate performance metrics, studies of the uniformity of coverage in the listening area of both steady-state and transient sound energy were performed on five motion-picture theater sound systems in situ. Conformity to the standard SMPTE 202M-1991 (ISO 2969 internationally) was measured. A hypothesis was developed regarding high-frequency uniformity of coverage and the screen-loss function

Canadian cinema began with the June 1896 screenings of the Lumière Cinematograph in Montreal. Early cinema was marked by an uneven balance between Canadian pioneers—for example, Nell Shipman, actress, director, producer, and writer of hits such as Back to God’s Country; or Léo-Ernest Ouimet, producer of hundreds of short films and founder of one of the world’s first motion picture theaters—and the dominance of production and distribution by foreign interests, above all American. The “quota quickies” of the 1930s, American films shot in Canada with no substantive Canadian content, and the Canadian Cooperation Agreement, in which the government agreed to refrain from developing a feature film industry in exchange for Canadian-based American productions, hamstrung an emerging indigenous industry. In 1939, John Grierson founded the National Film Board of Canada, a major center for film production, in particular animation and documentary. There, in the late 1950s, filmmakers like Michel Brault and Gilles Groulx launched the “cinéma direct” movement, a major influence on both documentary worldwide and the realist aesthetic and hybrid form of fiction film in Canada. In 1967, the Canadian Film Development Corporation (later Telefilm) was launched to provide funding for Canadian feature-film production. The films of “cultural value” it produced went largely unwatched by the Canadian public, however, and the absence of a substantial national audience for Canadian cinema (with the exception of Quebec) remains a challenge. The “tax shelter films” of the 1970s took advantage of changes in film funding opportunities and relaxed censorship laws to produce commercial genre films (“Canuxploitation”), an uneasy counterpart to the auteurist cinema generally associated with Canadian film. The 1980s saw the emergence of the Ontario New Wave and international successes like Denis Arcand’s Decline of the American Empire. Increasingly, Canadian films began to tell stories reflecting the diversity of Canadian experiences beyond the “two nations” of English Canada and Quebec, while Quebec cinema has experienced continued growth and popular success and is now considered on its own terms. Today, First Nations filmmaking has embraced the potential of digital cinema to tell ancient stories in new forms, and “Hollywood North” (large-scale American production in Canada) has both challenged and developed Canadian production. A diverse and often-exciting body of work, Canadian cinema has often been a minor player in its own national context, and questions of the relation between cinema and Canadian nationality have dominated film studies in Canada.

Education in the School of Dreams: Travelogues and Early Nonfiction Film Jennifer Lynn Peterson. Durham, NC: Duke University Press, 2013.Educational films are not a recent phenomenon. As the reader will learn from this very interesting book by Jennifer Lynn Peterson, assistant professor of film studies, University of Colorado Boulder, many of the earliest ones began as what the author calls "travelogues" or "scenics." These were a staple of the early motion picture theaters, short films that depicted tourist destinations and exotic landscapes which were otherwise inaccessible to most viewers. Peterson's title is a play on words as "the school of dreams" reflects the attitude of these early film-viewers to visit, if only through these short films, other parts of the world. For the modern traveler, social media makes it possible to show the sights and sounds of a trip available to all right as the visitor is in the midst of the site, but, right before World War I in the early days of film, this was obviously not possible. Instead, the early film viewer saw travelogues, which were a form of virtual tourism or travel documentary that was often presented as lectures to supplement accompanying films and photos.Peterson attempts to bring attention to this early period in film history that she feels has been overlooked by historians. Most of the emphasis of her discussion is on travel films and the American West which was a considerable source of fascination to audiences in this period. Not surprisingly, many of the early films were adventure stories and Westerns, with the "good" cowboys and the "bad" Indians. This book focuses on "travel films exhibited in commercial US theaters during early cinema's transnational era, roughly the years 1907 to 1915, when films first began to be shown in dedicated movie houses and cinema emerged as a distinct form of media with its own set of practices" (2).Travelogues evolved from the work of American writer and lecturer, John Lawson Stoddard, who began traveling around the world in 1874; he published books about his adventures and gave lectures which he illustrated with black and white lantern slides he reproduced from his photographs. Then, in 1892, Stoddard recruited Burton Holmes as his junior associate; in 1897 Holmes succeeded his mentor then went on to become one of the most important lecturers of his day. He coined the term, "travelogues," in 1904 when he introduced film clips to his lecture series. …

While two-channel stereo has been the mainstay of consumer sound reproduction for nearly a half-century, surround sound as originally developed for motion pictures has technical roots that go back even earlier. For the consumer, surround sound as a central requirement in music-only presentation in the home has had a spotty history. Quadraphonic (four-channel) sound was introduced in the mid-1970s and failed, chiefly because the technology proposed for it was not sufficiently developed. During the mid-1990s, surround sound was reintroduced to the consumer as an integral part of the home theater revolution, with its five-channel loudspeaker array consisting of 3 loudspeakers in front and 2 at the sides slightly to the rear of the listener. The basic plan was patterned after the normal loudspeaker setup in motion picture theaters of the day. A primary performance benefit of the “new” video-based surround sound was the use of a front center channel, which anchored center-stage events accurately in that position — regardless of where the listener was located. The added benefit of global ambience as fleshed out by the back channels was equally beneficial.

Dan Martin’s interest in architectural acoustics was aroused early in his academic years and remained for his entire professional life. While a graduate student and teaching assistant in the Physics Department at the University of Illinois, 1937–41, he worked closely with the pioneering acoustical consultant, Dr. Floyd R. Watson, on acoustical testing at the Purdue Music Hall, the Indianapolis Coliseum, the Indiana University Auditorium among others. During a period of eight years while working on research assignments for various divisions of RCA, Dan did part‐time consultations on hundreds of applications of sound amplification equipment in motion picture theaters and auditoriums as well as applications in broadcast and recording studios. During Dan’s long career at the Baldwin Piano and Organ Company, from which he retired in 1983 as Director of Engineering and Research, he consulted on the development and installation of Baldwin electronic organs in a multitude of architectural spaces and was Baldwin’s premier in‐house consultant on all matters acoustical. After Baldwin, Dan continued and intensified his consulting in architectural acoustics and noise control joining the National Council of Acoustical Consultants in 1983 at the urging of his many consulting colleagues. During his long and prolific consulting career, circa 1957 through 1998, Dan had over 500 projects many in worship and music performance spaces for which he had special interest. For Dan Martin, consulting in architectural acoustics was challenging and enormous fun. This paper highlights some of those joyful moments and it is hoped that any and all who have recollections of Dan’s consulting experiences over the years will spontaneously share them with us at this special tribute session to a friend and colleague who has marked our Society so indelibly.

The article suggests that sociocultural evolution and the processes of variation and selective retention provide a theoretical perspective for understanding past and future changes in communication industries resulting from intrapopulation competition. Data from the history of communication industries are used to illustrate the processes of variation and selective retention. The operation of r-K (rate-capacity) selection is illustrated in motion picture theaters and the daily newspaper industry. The final section of the article offers speculation on future selection patterns based on contemporary trends in communication industries.

“Gold is where you find it.” The Historical and Museum Committee of our Society is seeking “gold” in the form of good historical papers either written by pioneers of our industry or by others who have specialized knowledge of important pioneering work. It is not an easy task to assemble the data for such papers because old photographs and records frequently are buried or lost. Memory of past events becomes dim with the passing of time. Long searches are necessary in museums or private collections to unearth pertinent facts. Interviews are sometimes necessary with persons who may have some knowledge of the event. When the data have been collected and organized, only then can the writing be done. — William F. Kruse here describes the contributions made by a Past-President of our Society, Willard B. Cook, to the early history of 28mm and 16mm film distribution for educational, industrial, governmental and home use. Emphasis is placed on the importance of using only “slow-burning” safety film for this purpose rather than the more hazardous, inflammable nitrate film then in common use in motion-picture theaters. Mr. Cook recognized these facts and, along with Alexander Victor (Jour. SMPTE 72 : 614-1327, August, 1963), took a strong stand in favor of restricting films for nontheatrical use to the safety acetate type.

Some interesting figures were presented at the International Congress of Architects in Moscow. They indicated that humanity would have to build 1.5 times more housing facilities by the end of the century than it had built throughout its entire existence on earth. By the end of the Seven-Year Plan period some 15 million apartment units will have been built in the Soviet Union and of course a corresponding number of schools, kindergartens, motion picture theaters, shops, clubs and other public, cultural and service buildings.

FOR more than four years, through the various media of communication, American thought has had a steady and relentless impact on German culture. This has not come about by chance. The United States, in a determined effort to present information about itself, has made unprecedented use not only of print, radio, film, and the fine arts, but also of an institution less well known-the information center. The authors took part in this information program and their account of its development is largely first-hand, although most of the statistics are from the official reports of the U. S. Military Governor. In order to appreciate fully the extensive use being made of information facilities in Germany today, it is essential to consider the situation in this devastated country at the end of hostilities. Printing plants, publishing houses, radio stations, and motion picture theaters which had survived the war were closed by Military Government, along with the schools, libraries, legitimate theaters, and all communication services. Not even the postal, telephone, or telegraph services were operating. A person in Munich, for example, had no way of determining whether his cousins in Nuernbergmuch less his grandparents in Berlin-were still alive. He did not even know whether these cities still existed.

The proven practicability of spray processing, coupled with the availability of acetate film bases which will withstand fairly high processing temperatures, enables construction of compact continuous processing equipment for operation at synchronous speed of cameras and projectors. The theory and construction of an experimental equipment are described. Significant performance features are studio print quality, continuous automatic operation and convenient control of process variables. Auxiliary equipment permits reel-to-reel, camera-to-projector or camera-to-reel processing. Possible applications are television network service in connection with video recording, motion picture theaters, laboratory processing of small film batches, and motion picture studio monitoring of critical takes.

in a state of chronic crisis for the last thirty years. The industry operates on a very narrow basis in France. In a country where half the population lives in the country or in small villages, there are relatively few motion picture theaters, and attendance is limited. For every Frenchman buying one movie ticket, an Englishman buys five or six, an American eight or ten; moreover, the price of admission is three to five times greater in England and America than it is in France. Before 1914, in spite of its undeveloped home market, France had a quasi-monopoly of international film trade. In 1908, according to George Eastman, founder of the Kodak enterprises, the Pathe Company alone was selling twice as many films in the United States as all the American producers put together. But the young American industry soon dominated its home market, and then eliminated French competition in nearly all foreign countries. In 1920 the big companies in Paris, playing a losing game, liquidated their agencies and studios abroad, and relied on importing American, German, and Swedish films for part of their French revenue.

T HE screen has arrived at the middle of the twentieth century, with a swift fifty years of evolving experience behind it, as a dominant form of expression. Among the masses it shares with the printed word and the radio, somewhat remotely related instruments of communication, and exceeds them both in effective penetration, especially in the great illiterate and semiliterate strata where words falter, fail, and miss. Being a basic, primitive implement, the film reaches low and deep, with an order of authority to the senses enjoyed by no other form of expression. It is estimated that there are between seventy-five and eighty thousand motion picture theaters functioning around the world. The weekly attendance is calculated to be in the vicinity of 235,000,000. Statistics of the motion picture industry, especially world statistics, are not to be viewed as records of extreme precision. Somewhat indirect evidence of the

A description of recent work carried on to study and formulate requirements to be met by the sound systems of motion picture theaters in order that the reproduction may be of a quality consistent with the recording technic available for some years to come. After setting up requirements relating to sound equipment; load capacitites; efficiency; volume ranges; transient, phase, and attenuation distortion; horn distribution characteristics; size; weight; costs; etc., the paper goes on to describe the design, installation, and performance, of the Shearer two-way horn system, engineered to meet the high standard of performance set up. The material of the paper is useful not only in connection with motion picture sound systems but also with public address systems and home radio equipments.

The technical capabilities and limitations of color television and color photography are compared in five categories: (1) the viewing situation, (2) image photometry, (3) image colorimetry, (4) image structure and (5) image continuity. The results of a detailed survey of the practices of motion-picture theaters and the 8mm and 16mm motion-picture systems are compared with the current performance obtained by 21-in, color-television receivers. Tables comparing these systems are presented. The avenues open to television and photographic engineers to improve the respective systems are pointed out.

THE ECONOMIC HISTORY of the post-war years is abundant in significant and dramatic stories. But few are as impressive and as far-reaching as the rapid growth of the communication industries'. The increase of world population to 2,652,000,000 by mid-1954 or 842 million more than in 1920, and 402 million more than in 19402has resulted in tremendous audiences. The opening-up of wide areas, industrialization, and urbanization, have brought revolutionary changes. Even underdeveloped countries realize that they cannot progress if their governments and their people are unable to "communicate" inside and outside the national borders. We have marveled at the dynamic advance of communications in the United States, the mass circulation of newspapers and magazines, and the growth of the radio and electronics industry. Here, above all, has loomed the success of television. Other countries too have had a remarkable expansion of communication and information media. There are television stations in forty countries and territories; two hundred of them operating regularly and reaching more than 10 million homes3. The United States leads in radio and television. More than half of the broadcasting stations of the world and nearly one half of all radio sets are in this country. It has more than twice as many television stations and almost four times as many television receivers as all other countries combined4. With respect to other media the situation is different. Three countries are producing more books than the United States; Germany issued 21,650 titles in 1954, Japan 19,837 and the United Kingdom 19,188 as compared with 11,901 published in the United States5. Ten countries, led by the United Kingdom and Sweden, have a much higher per capita circulation of daily newspapers (see Table II). The United States continues to play a dominant role in motion picture production and distribution; but it has lost to Japan the first place regarding the number of feature films produced, and it may soon lose the second place to India now ranking third. In 1954, Hollywoodproducing 303 feature films as compared with 370 made in Japan and 274 made in India6)-did not supply more than 12.5 per cent of the world's total output of feature films (see Table III). The United Kingdom, New Zealand and Canada also have a proportionately higher attendance of motion picture theaters; 25.0, 18.1 and 17.5 per 1,000 inhabitants as against 16.4 in this country.

The history of the development of the motion picture industry in Japan is traced, beginning with the year 1895. The economic problems with which the Japanese producers have to contend are pointed out, as well as the extent to which motion pictures are used and theaters are patronized. The relation between the per capita wealth and the patronage of motion picture theaters is discussed, as well as the special uses to which motion pictures are put, such as for education and propaganda.

There are three features of the motion picture, considered as a means of amusement, which must challenge the serious consideration of the student of ethics who reflects on the relation of this institution to the mental and moral welfare of the young. The first of these is the universality of the appeal which the motion picture makes. Available statistics would indicate that no less than 20,000,000 people attend motion-picture theaters every week. Many of these, of course, are "repeaters." But even so, the number of distinct individuals who are reached and influenced by this form of amusement each week must run into the millions. Of this number a large percentage are children and adolescents. And no institution which contributes to the experience of so large a number of the members of society at the most impressionable period of their lives should remain unscrutinized by the moralist. A second feature of the motion picture which challenges the moralist's scrutiny is the fact that the channel through which its appeal is made is the eye rather than some other of the senses. Visual impressions are, for the majority of people, the most vivid and the most lasting. And the import of this consideration is 'accentuated by the circumstance that the visual impressions made on the mind of the spectator are always in terms of concrete imagery of the most detailed character. There is a vast psychological difference between hearing or reading an account of a murder, or an assault, or a passionate mutual attraction between members of the opposite sexes, and seeing

The practical application of scientific air conditioning to various industrial processes and manufacturing methods and equipment first became evident about 1905. Air conditioning for human comfort was provided originally about 1922 in motion picture theaters and during the last ten or fifteen years has been made available with gratifying results in restaurants, stores, hotels, private homes, office buildings and railroad cars. Air conditioning may be defined as the mechanical production of an artificial indoor atmosphere through the simultaneous and complete control of temperature, humidity, movement and purity during various seasons of the year. While proper ventilation in general is recognized as one of the essentials for the maintenance of indoor life and health, little scientific information or statistical data are available as to the influence of complete air conditioning on the health of industrial workers. AIR CONDITIONING SYSTEMS There are various types of so-called air conditioning systems now in vogue.