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This paper aims to propose a method to measure the operational efficiency of the movie theater businesses. The method is based on a bootstrap data envelopment approach to test the statistical significance of the performance difference between companies in the movie theater industry. The proposed method is utilized to investigate the operational efficiency of the three major U.S. movie theater chains. This article utilizes data from each company's individual financial filings to estimate their bias-corrected efficiency scores. An aggregate report of the efficiency scores shows that the movie theater industry is experiencing a significant decline in both scale and technical efficiencies. The efficiency assessment of the three movie theater chains reports statistically significant differences. Based on the constant returns to scale assumption, the efficiency scores are different among the three movie theater chains. Closely, two significant differences are identified when considering the variable returns to scale assumption. The kernel density of the efficiency scores is estimated as well. Results suggest that the movie theater chains are in imperative need of developing an innovative strategic plan to tackle poor attendance and weak managerial practices. Other contributions and managerial issues are also discussed. [ABSTRACT FROM AUTHOR]

Copyright of Arte & Ensaio is the property of Arte & Ensaio 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.)

Copyright of GeSec: Revista de Gestao e Secretariado is the property of Sindicato das Secretarias e Secretarios do Estado de Sao Paulo (SINSESP) 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.)

The article presents a methodological elaboration of a syllabus for a university course. The purpose of the course and this presentation is to offer a new focus for teaching the theory and history of silent film within the framework of New Film History concepts. The article is addressed to the expert community of historians, film critics, media researchers, archivists and future specialists in these fields. As a consequence of its rediscovery, early cinema is today an important construct of historical and film studies knowledge. And early cinema itself, with its non-linear development, forgotten histories of color and “talking” films, and huge screens, requires new historiographical models. The dossier of early cinema pushes to investigate the filming schemes, screen technologies, and aspects of music, noise, and verbal accompaniment, as well as draws attention to the potential of film tape restoration. In addition to the traditional teaching methods including lectures and seminars with discussion of theoretical and historiographical texts, the course engages students in doing research using little-studied written sources and technical artifacts available in archives and museum collections. In the cases of Perm, these include materials deposited at the Perm Museum of Local Lore, the Perm State Archive, and the Perm Cinematheque. Students get acquainted with the latest methods of attribution of film archival documents, celluloid, samples of film equipment and film carriers, the vocabulary of archivists and film historians. As a result, students are introduced to current research practices, new horizons of studying the history of cinema through the prism of technical advances and technological experiments. The course attunes the future specialists to the values of the obsolete, the forgotten, and, thanks to new cultural histories, sets a precedent for a conceptual and practical exercise in identifying the facets of contemporary media. Статья представляет собой презентацию методологической разработки университетского курса. Цель курса и его настоящей презентации — предложить новый фокус преподавания теории и истории немого кино в рамках концепций New Film History. Аудитория, которой адресован материал, это экспертное сообщество историков, киноведов, исследователей медиа, архивистов и будущих специалистов в этих областях. Вследствие переоткрытия раннее кино является сегодня важным конструктом историко-киноведческого знания. И само раннее кино с его нелинейным развитием, забытыми историями цветных и «говорящих» фильмов, огромных экранов требует новых историографических моделей. Досье раннего кино инициирует расследование механизмов съемки, экранных технологий, особенностей музыкального, шумового и вербального сопровождения, привлекает внимание к потенциалу реставрации пленочных лент. Помимо традиционного формата обучения в виде лекций и семинаров с обсуждением теоретических и историографических текстов, курс предполагает исследовательскую работу студентов с использованием мало- изученных письменных источников и технических артефактов, которые имеются в архивных и музейных фондах. В случаи Перми это материалы Пермского краеведческого музея, Государственного архива Пермского края, Пермской синематеки. Студенты знакомятся с новейшими метода- ми атрибуции киноархивных документов, кинопленки, образцов кинотех- ники и кино-носителей, лексиконом архивистов и киноведов. В результате студенты получают опыт приобщения к актуальным исследовательским практикам, новым горизонтам изучения истории кино через призму достижений техники, технологических экспериментов. Курс настраивает специалиста на ценности устаревшего, забытого и благодаря новым культурным историям создает прецедент концептуального и практического упражнения в выявлении граней современных медиа.

In today’s world, the COVID-19 pandemic has affected many lives and forced the people to take safety precautions like never before. Therefore, designing an environmentally friendly theatre minimizing germ propagation using filtration mechanisms is a valuable project, as it would help struggling businesses, and give people a chance to enjoy a day outside, safely. The overall goal of the MAE committee’s goal for this year’s conference is to design a robot that not only moves around the movie theatre distributing snacks and drinks ordered by the customers but also provides them with sanitizer every time it delivers the food. Moreover the overall goal of the project is to build a movie theatre that is COVID-free while keeping in mind the safety and satisfaction of the customers.

In today’s world, the COVID-19 pandemic has affected many lives and forced the people to take safety precautions like never before. Therefore, designing an environmentally friendly theatre minimizing germ propagation using filtration mechanisms is a valuable project, as it would help struggling businesses, and give people a chance to enjoy a day outside, safely. With safety being the highest priority, the incorporation filtration systems and contactless food delivery networks is essential while providing a fun and lasting memory for the visiting audience. However, to meet the previously listed goals, solutions to major obstacles are necessary. This includes designing a robot with consistent movements while simultaneously avoiding its surrounding obstacles, building an energy environment friendly cooling system, and creating a filtration mechanism to filter the COVID-19 particles. With these overall designs incorporated into the traditional movie theatre, the team presents the “COVID-less Movie Theatre”.

In today’s world, the COVID-19 pandemic has affected many lives and forced the people to take safety precautions like never before. Therefore, designing an environmentally friendly theatre minimizing germ propagation using filtration mechanisms is a valuable project, as it would help struggling businesses, and give people a chance to enjoy a day outside, safely. With safety being the highest priority, the incorporation filtration systems and contactless food delivery networks is essential while providing a fun and lasting memory for the visiting audience. However, to meet the previously listed goals, solutions to major obstacles are necessary. This includes designing a robot with consistent movements while simultaneously avoiding its surrounding obstacles, building an energy environment friendly cooling system, and creating a filtration mechanism to filter the COVID-19 particles. With these overall designs incorporated into the traditional movie theatre, the team presents the “COVID-less Movie Theatre”.

In today’s world, the COVID-19 pandemic has affected many lives and forced the people to take safety precautions like never before. Therefore, designing an environmentally friendly theatre minimizing germ propagation using filtration mechanisms is a valuable project, as it would help struggling businesses, and give people a chance to enjoy a day outside, safely. With safety being the highest priority, the incorporation filtration systems and contactless food delivery networks is essential while providing a fun and lasting memory for the visiting audience. However, to meet the previously listed goals, solutions to major obstacles are necessary. This includes designing a robot with consistent movements while simultaneously avoiding its surrounding obstacles,building an energy environment friendly cooling system, and creating a filtration mechanism to filter the COVID-19 particles. With these overall designs incorporated into the traditional movie theatre, the team presents the “COVID-less Movie Theatre”.

This paper highlights how the proliferation of online transactions, especially those involving the use of credit cards, has resulted in the emergence of new security flaws that pose threats to customers and enterprises worldwide. E-commerce and other forms of online monetary transactions have become essential in the manufacturing and service sectors, propelling the global economy. The widespread and dependent connectivity of mobile payment systems using credit card transactions presents chances for fraud, risk, and security breaches. In light of the importance of accurately predicting fraud incidents through payment procedures, this study investigated the credit card payment methods used for movie tickets, using the machine learning logistic regression method to analyze and predict such incidents. This study used a dataset from cinema ticket credit card transactions made in two days of September 2013 by European cardholders, including 284,807 transactions out of which 492 were fraudulent purchases. The results of the proposed method showed a prediction accuracy of 99%, proving its high prediction performance. [ABSTRACT FROM AUTHOR]

1895 yılından günümüze gelinceye dek birçok kişi sinemaya gitme deneyimi yaşamıştır. Bu deneyimin bazen anlık kararlara bazen de bir programa bağlı kalınarak yaşandığı söylenebilir. Sinemaya gitme deneyimi günlere, haftalara, aylara ve özellikle yıllara göre değişkenlik gösterir. Bu değişken yapı, sinemaya gitmeye dair hafızalarda yer alan anıları ortaya çıkarabilecek sözlü tarih çalışması ile anlaşılabilir. Sözlü tarih yöntemi çerçevesinde gerçekleştirilen bu çalışmanın amacı 1990’lı yıllarda Eskişehir’de sinemaya gitme deneyimlerine sahip olan kişilerin anılarına ulaşılarak o dönemde sinema mekânlarına yönelik oluşan algıları ve sinemaya gitme deneyimlerini ortaya koymaktır. Çalışmanın problemi ise bu deneyimlerin daha çok hangi ortak temalar çerçevesinde yaşandığını belirlemektir. Çalışma, 1990’lı yıllarda Eskişehir’de sinemaya gitme deneyiminin ne şekilde yaşandığını bu deneyimi yaşayan kişilerin söylemlerinden yola çıkarak aktarması ve Eskişehir’e yönelik böyle bir çalışmaya daha önce yer verilmemiş olması bakımından önemlidir. Çalışmada toplam 24 kişiyle görüşülmüş, bu kişilerin o yıllardaki sinemaya gitme deneyimleri irdelenmiştir. İnceleme sonucu, Eskişehir’de günümüzde var olmayan ancak o yıllara imzasını atan, sosyalleşmenin öncüsü olan önemli sinema mekânlarının bulunduğu ve 1990’lı yıllara özgü durumların sinemaya gitmeye yönelik oluşan anılarda yer aldığı anlaşılmıştır.

The theme Autism Spectrum Disorder - ASD and people with such characteristics have received increasing visibility in recent years in different contexts, among them, in the areas of education and health, in the legal field, in cinema and in other media. This article chooses filmic representations, more specifically the movie Crazy in Love, as a context to approach the theme and aims to highlight the effects of truth disseminated by cinema about people with ASD. It seeks to analyze filmic discourses through Screen Ethnography and discourse analysis with Foucauldian inspiration. The study points out that filmic media is a powerful channel for creating truth effects that subjectify populations to certain understandings about the theme. [ABSTRACT FROM AUTHOR]

Copyright of Revista HISTEDBR on-line is the property of Universidade Estadual de Campinas - Portal de Periodicos Eletronicos Cientificos 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.)

Journal this discuss about influencing factors intention customer for return to cinema after reopening during covid-19 pandemic. Study this aim for test influencing factors intention customer for watching at the cinema During period pandemic, when cinema closed almost 8 months long During 2020 and rising the number of OTT platforms is also still development The unsettling COVID-19 pandemic community, plus restrictions also inside building cinema. Method research that we use in research is study quantitative where study this use web-based questionnaire survey method. Population in study this is Indonesian population in Jabodetabek who is at least once one time watching at the cinema During COVID-19 pandemic. retrieval technique sample in study this use purposive sampling technique. As for the results is in study this obtained that Customer Experience variable has significant influence towards Customer Satisfaction and Customer Trust. Then Customer Satisfaction and Customer Trust have significant influence towards Customer Loyalty. [ABSTRACT FROM AUTHOR]

Movie theaters were closed down during the COVID-19 pandemic leaving them with no way of communicating face-to-face with their target audiences and, more importantly, they lost an important source of revenue. Social media became one of the most important tools used by movie theaters to communicate with their target audiences during the pandemic. In this regard, this study seeks answers to the research problem: "Does social media provide new opportunities for independent movie theaters to continue their activities?" Accordingly, this article analyzes how movie theaters used social media during the COVID-19 pandemic, through the example of Beyoğlu Movie Theater's use of Twitter. Beyoğlu Movie Theater was sampled since it is an independent movie theater, which has the largest number of followers on Twitter in Turkey. In terms of methodology, this article employs a descriptive analysis and a content analysis to examine 794 tweets and retweets shared by Beyoğlu Movie Theater between January 1, 2020 and December 31, 2020. The topic codes identified in the Tweets have been classified under 26 different categories. As an outcome, it was revealed that the tweets by Beyoğlu Movie Theater underwent a major transformation. The use of social media evolved from promoting movie showtimes and selling tickets before the pandemic into a form that focuses on maintaining the connection with audiences and asking them for material support during the pandemic. Finally, this article concludes that Beyoğlu Movie Theater's use of social media during the pandemic can be read as an example of participatory culture expressed by Jenkins, in contrast to passive media audience. [ABSTRACT FROM AUTHOR]

Copyright of Comunicação, Mídia e Consumo is the property of Escola Superior de Propaganda e Marketing 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.)

Copyright of Revista FAMECOS - Mídia, Cultura e Tecnologia is the property of EDIPUCRS - Editora Universitaria da PUCRS 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.)

Copyright of Saeculum - Revista de História (0104-8929) is the property of Saeculum - Revista de Historia 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.)

Copyright of Revista de Medicina y Cine / Journal of Medicine & Movies is the property of Ediciones Universidad de Salamanca 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.)

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Copyright of Mouseion (19817207) is the property of Editora Unilasalle 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.)

In Japan, ouen-jouei (cheer screening) events permit novel forms of audience participation, with screened events allowing cheering, glowstick waving, and cosplaying. Fans immerse themselves in story worlds by physically performing at such ouen-jouei events. Ouen-jouei audience members become immersed in the film's story world through a process of negotiation between their physical state as a spectator and their imagined self as a story world character, as is demonstrated by ouen-jouei events associated with the 2016 Japanese animated film King of Prism. Theories associated with audience studies, media studies, and fan tourism are deployed to analyze this novel form of cinema audience immersion. It is impossible to physically integrate audience members and a film's story world, so fans' inner experiences become the primary concern.

This article explains the construction of the feminine departing from Catherine Tramell, a character in the movie Basic Instinct (1992), and its intertwining with the ideas of fatality, perversity, and abjection. According to the socio-historical context of the United States in the 1990s, particularly the influences triggered by the movement known as Backlash, the objective is to analyze Catherine's development and her relationships with other characters, considering the female gender as a regulator that positions subjects in the narrative. It is a qualitative approach, carried out through Discourse Analysis from the perspective of Mikhail Bakhtin (1988, 2011), mainly regarding the socio-ideological function of discourse, and of Dominique Maingueneau (2008a, 2008b) for the notions of scenography and ethos. Bringing together Gender and Cinema, the article is based on the arguments of authors such Judith Butler (2001, 2010), Ann E. Kaplan (1995) and Susan Faludi (2001), adding to the reflections on abjection provided by Julia Kristeva (1982). As a result, it was noticed that discourses articulated with the normalization of the female gender and with the Backlash indicated tensions and ambiguities in the structuring of the characters, transforming the film into an arena in which contradictory interpretations align with the relationships between subversion and the villainy expressed by Catherine Tramell. [ABSTRACT FROM AUTHOR]

Movie theaters typically appear adjacent to discussions of new media. Although there has been work on digital cinema, we shift the focus from the digitization of the medium to the digitization of the theatrical audience and analyze the movie theater as new media. To do so, we look at the historical and contemporary strategies for digitizing the theatrical audience of a prominent theater chain. We identify common media of digitization, including credit cards, computerized point-of-sale systems, and loyalty programs. The origins of these techniques and imperatives trace back to the 1970s and 1980s, even as they take on new forms today. We then analyze the industrial logics of audience digitization and emergent communication and data collection methods. Finally, we analyze the movie theater as a platform, showing both the relevance of movie theaters and the challenges their inclusion as an object of study poses for contemporary platform studies. [ABSTRACT FROM AUTHOR]

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Copyright of Revista de Medicina y Cine / Journal of Medicine & Movies is the property of Ediciones Universidad de Salamanca 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.)

Copyright of Building the way - Revista do Curso de Letras da UEG/Itapuranga is the property of Universidade Estadual de Goias 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.)

The period of armed struggle in Brazil lasted from 1968 to 1975, with the purpose of combating the military dictatorship and aiming for a return to democracy in the country. After the end of the armed period, later, there was a profusion of memorialistic books of the literature genre of the testimony, as a political balance of the characters who wielded weapons. Also, as a reflection of this literary production there was a great film production that portrayed this moment in Brazilian history. This article has as main objective to examine the film representation of the guerrilla leader Vera Silvia Magalhães in the two films that she was portrayed, respectively in the films What is that companion (1997) and Memoria that tell me (2013). Vera Silvia became a paradigmatic figure being considered in the period of the armed struggle the muse of the left and galvanizing its image until the present time. Therefore, this article works beyond literature and cinema, too, with the framing of memory and history through the biographical study of this character. For methodological purposes, it will be a qualitative work, since it aims at the historical reconstitution of a period through a biographical study, and especially the content analysis of the cinematographic production of the films made.

This article aims to analyze movie theaters from the theoretical assumptions of sociosemiotics, especially with the competition of theories of the meaning and interaction regimes as defined by Eric Landowski (LANDOWSKI, 2014). For this purpose, the semiotic analysis of the space of a specific cinema room in Rio de Janeiro will be carried out in a detailed way, which was understood as paradigmatic of the situation that is intended to be analyzed, that is, cinema rooms as spaces for cinephile worship. The discussion will be preceded by contextual notes in which the significance of this analysis will be reported at a time when the very nature and exhibition of cinema has been questioned in the traditional format. [ABSTRACT FROM AUTHOR]

Copyright of Patrimônio e Memória is the property of Centro de Documentacao e Apoio a Pesquisa 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.)