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The COVID-19 pandemic disrupted the U.S. film industry, prompting major studios to release blockbuster films on streaming platforms. This study examines the impact of pandemic-related changes on the film industry by analyzing social media conversations on Twitter as a proxy for success. We introduce a novel metric to measure social word-of-mouth (sWOM) longevity for 40 movies released across different genres and franchises. Results indicate that pandemic-era films experienced shorter sWOM lifespans than pre-pandemic counterparts, and streaming releases generated shorter sWOM conversations than theatrical releases. This suggests that streaming releases risk quicker cultural obsolescence due to limited social media discussion time. This study offers valuable insights for industry practitioners navigating the evolving cinematic landscape. [ABSTRACT FROM AUTHOR]

The aim of this paper is to analyze the potential contribution of broadcasting live performing arts in movie theaters to the democratization of high culture. To accomplish this, we analyze the profile of attendees to these events to explore whether this new form of cultural consumption can attract individuals who do not normally attend live performances, thereby renewing high-brow audiences. Using data from the Spanish Survey of Cultural Habits and Practices in Spain (2018–2019), we find that individuals who frequently attend movies are more likely to attend live opera broadcasts in movie theaters, even those who do not consume live opera or even do not listen to opera at all. This is a positive insight suggesting that this initiative may be successful to engage new audiences to high culture. [ABSTRACT FROM AUTHOR]

For most major movies, consumers have a choice to watch them in a theater or on home video. While each viewing channel has its own advantages and disadvantages, consumers are watching the same underlying product—a specific movie. An unanswered question is whether consumers enjoy watching a specific movie more in a theater or video setting. Using IMDb rating data, we find that for most wide-release movies, ratings are higher during the theater window than during the video window. The differences are particularly high for movies with relatively large production budgets and for sequels. [ABSTRACT FROM AUTHOR]

The Brazilian film market consists mainly of American films; most of these films are released after their release in the United States, while a few are released before or simultaneously. The recent rapid developments in information and communication technology (ICT) changed film-showing technology to a digital model, improving the possibility of simultaneous worldwide releases. ICT evolution also allowed Brazilian moviegoers to access American critic reviews in real time. We explore this scenario to study whether American critic reviews influence film consumption at theaters in Brazil. We employ regression analysis using data from 1,600 films exhibited in the country between 2007 and 2018 collected from Box Office Mojo and Rotten Tomatoes websites. Controlling for endogeneity problems, we documented a prediction effect of expert reviews on gapped film releases but not an influence effect on simultaneous releases, which correspond to the wide film releases in the United States. [ABSTRACT FROM AUTHOR]

The author investigates ethnic movie theatres in Los Angeles in the mid-20th century, situating them in the city’s cinema landscape. By tracing the history of the LA German-language theatre, the La Tosca Filmbühne, she highlights how the cinema attempted to create a community of Germanness through its exhibition practices. She positions the audiences’ draw to these movie theatres in the context of Alison Landsberg’s notion of prosthetic memory, regarding the films screened there as evoking images and reminiscences of the viewers’ home countries. Through extensive archival research, the author also highlights the other Angeleno ethnic cinemas – Spanish language cinemas in particular – to examine what role foreign language theatres played in the cinemagoing communities of immigrant populations.

This article proposes a measurement approach to determine how consumers prefer to locate themselves in proximity to others during consumption experiences, such as when they purchase reserved seating tickets to a performance. Applied to data from locational choice experiments that simulate reserved seating assortments, administered to more than 2,000 participants, this approach reveals the importance of modeling proximity to others when studying locational choices. It also emphasizes the degree to which consumers are heterogeneous in their preferences for proximity to both focal elements (e.g., stage, screen, aisles) and other consumers. Therefore, event operators should collect data beyond purchase ticket logs and also include consumers who did not purchase. Furthermore, this study illustrates how managers can use fitted, individual-level parameters and an optimization model to make more effective seat-level availability decisions. In addition to these recommendations for managers of reserved seating venues, this article offers novel contributions to research related to advance selling, spatial models, and personal space. [ABSTRACT FROM AUTHOR]

After the isolation caused by the pandemic, the entertainment sector has been forced to change the way it markets its products and services, and users have been adapting to the change. The objective of this research article is to provide added value and innovation to the advertising promotions of movies in the premiere, through the development of a mobile application based on augmented reality to improve customers’ shopping experience. For which the Agile Mobile-D Methodology was used for the development of the application and the results were studied using 5 indicators: Time to choose a movie, where an improvement of 38.26% was obtained compared to the Pre-Test; regarding the indicator time to acquire information about the movie, an improvement of 81.33% was obtained. 33%; concerning the third indicator, time to initiate the purchase, an improvement of 88% was obtained; concerning the fourth indicator, time to obtain a reminder, an improvement of 83.33% was obtained, making the time with the use of the application shorter; finally, concerning the customer satisfaction indicator, 73% of the users who used the application rated their experience as between satisfied and very satisfied. [ABSTRACT FROM AUTHOR]

The 'Oregon Theater Project' (OTP) dataset is part of an ongoing collaborative research project by undergraduate students enrolled in successive iterations of “Exhibition & Audiences,” a Cinema Studies course at the University of Oregon. It will be updated with additional data each time the course is taught. The data set comprises geo/historical data about movie theaters (cinemas) and exhibition in the state from approximately 1894 to 1929. The data is presented on a public website (https://oregontheaterproject.uoregon.edu/) which includes maps and individual theater profiles produced by the students. All profiles, and the underlying data, are reviewed by the course instructors and edited as needed for clarification or accuracy. Profiles include, where available, the theater name, address, city, state, latitude, longitude, number of seats, owner/manager names, and a narrative description. The underlying data, shared as Excel documents and tab-delimited spreadsheets, invites historical comparative analysis of film exhibition practices across time and locale, both local and global.

This paper analyzes the first two years of operation of Marc Ferrez & Filhos (Marc Ferrez & Sons), a pioneer of film distribution in Brazil. As exclusive representative of French Pathé Frères in the country, the company oversaw the expansion of permanent movie theaters in Rio de Janeiro starting in 1907, created a national distribution network, and shaped the budding film market in Brazil. The paper shows that the increase in domestic film production after 1908, the so-called belle époque of Brazilian cinema, resulted from Marc Ferrez & Filhos’ dominance in programming at the best movie theaters in the capital of Brazil using their own original and exclusive representation model. [ABSTRACT FROM AUTHOR]

This article concerns digitization of film distribution and exhibition in the entire cinema sector in Norway, its comprehensive consequences for diversity - seen from the perspective of cultural policy. The results of analyzing complete cinema statistics for three years (2008, 2013 and 2017) indicate that the digitization process "from film reels to film files" contributes to strengthened diversity in terms of repertoire, distribution and new audiences. For policy makers, cinema operators and researchers, the study presents positive intended and unintended consequences of digitizing the cinema sector. These positive consequences offer cinema operators new opportunities when it comes to repertoire diversity. [ABSTRACT FROM AUTHOR]

The Oregon Theater Project (OTP) dataset is part of an ongoing collaborative research project by undergraduate students enrolled in successive iterations of “Exhibition & Audiences,” a Cinema Studies course at the University of Oregon. It will be updated with additional data each time the course is taught. The data set comprises geo/historical data about movie theaters (cinemas) and exhibition in the state from approximately 1894 to 1929. The data is presented on a public website (https://oregontheaterproject. uoregon.edu/) which includes maps and individual theater profiles produced by the students. All profiles, and the underlying data, are reviewed by the course instructors and edited as needed for clarification or accuracy. Profiles include, where available, the theater name, address, city, state, latitude, longitude, number of seats, owner/ manager names, and a narrative description. The underlying data, shared as Excel documents and tab-delimited spreadsheets, invites historical comparative analysis of film exhibition practices across time and locale, both local and global. [ABSTRACT FROM AUTHOR]

In this article, we aim to address the interfaces between image creation, cinema and the effects and sensations produced in these meetings. From Alves (2016), we understand the educational networks that form us and form with others, as important flows of 'knowledge and meanings'. With this, we seek to understand how the images (everyday creations) 'seenhearddonefeltthought' provoke affections, memories and narratives that allow us to talk about different existential situations. We chose cinema, the authors' passion, to think together with these creations. According to Deleuze and Guattari (1992), images evoke our senses and allow us to weave 'conceptual characters' to continue experimenting and resisting and also as one of the many ways to 'make people think' education. We believe that films can involve us in good encounters, consisting of a sharpening device for heterotopic practices. [ABSTRACT FROM AUTHOR]

Uno de los proyectistas de edificios de ocio más importante por el número y el carácter de los inmuebles construidos en la provincia de Cáceres durante el pasado siglo XX fue el aparejador Fernando Perianes. En sus intervenciones, integra los cinematógrafos que diseña, normalmente sobre espacios preexistentes, con el urbanismo y la identidad del lugar en el que se ubican, además de aportar modernidad a las poblaciones mediante construcciones que permiten la evolución de la arquitectura rural sin provocar estridencias en el entorno. Se analiza una docena larga de salas de proyecciones a partir de fuentes fotográficas y documentales, como herramientas didácticas y de generación de storytelling sobre la memoria popular toda vez que el uso pensado como cines ha desaparecido. Abstract One of the designers of buildings of leisure architecture more important by the number and the character of the buildings constructed in the Caceres province (Spain) during the 20th century was the engineer Fernando Perianes. In his interventions, he integrates the movie theaters he designs, usually on pre-existing spaces, with the urbanism and the identity of the place where they are located, as well as bringing modernity to the populations through constructions that allow the evolution of rural architecture without discordant effects in the citizen environment. Over than a dozen of movie-theaters by Perianes are analysed from photographic and documentary sources, such as didactic and storytelling tools on popular memory, since the use of the cinemas has disappeared.

Copyright of Présence Francophone is the property of College of Holy Cross, Department of Modern Languages & Literatures 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.)

Innovations in digital technology have provided consumers with a variety of screens and portals through which they can access motion picture entertainment. This study sought to understand what factors motivate consumers to experience a film in the theater versus waiting to see the film at home, using home-viewing technology. Using the uses and gratifications framework coupled with the theories of reasoned action and planned behavior, this study employed a survey (N = 331) designed to measure gratification expectations and viewing intentions for five films that had not yet been released in theaters. The study found that while behavioral control and satisfaction with a consumer’s theatrical and home viewing environment may play roles in determining the consumer’s decision to see a movie in the theater, it is affective gratification expectations that exert the biggest influence on theatrical attendance across different types of films. In addition, subjective norms did not influence viewing intentions for any films employed in the study. The findings of this study suggest that audiences are increasingly selective about the types of films they choose to view in the theater, favoring exciting, visually enticing films.

While some architectures produced during the "Glorious Thirty" have been the subject of extensive research, others remain neglected by the historiography of architecture recently written in France. This is the case of architectures designed for cinematographic exploitation, whose research and publications devoted to their evolution (Meusy; Abadie) have so far specifically addressed the periods of its birth (1895-1918) and development (between the wars), without examining the intense theatre construction activity since the Reconstruction.In this context, and based fundamentally on the analysis of architectural and film periodicals of the time, our text presents a first approach to the figure of the most prolific theatre designer in France from the 1940s to the 1970s: Georges Peynet. The study of this architect's career highlights the presence in France of an elite group of designers specialising in cinema architecture, unknown in architectural circles but widely recognised and in demand among cinema operators.As the leading French "cinema architect", Peynet has forged a career exclusively dedicated to the design of cinemas, contributing to the transformation of this architectural program.

Copyright of Journal of Social Sciences & Philosophy is the property of Research Center for Humanities & Social Sciences, Academia Sinica 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 Espacio, Tiempo y Forma. Serie VII, Historia del Arte is the property of Editorial UNED 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.)

Not only physical presences, but also histories and memories of the cities transform. The changes in the built environments result in the erasure of past records from urban space as well as from the minds of urban dwellers. Photographs and movies record the past and document the life and culture in the built environment. Movie theaters are important as they are the sites of meanings and memories of the past. First movie theaters were built after cinema was embraced by urban dwellers as a cultural activity and a realm of socialization. In order to be accessible by citizens, movie theaters were positioned at the centers of the cities as new social and public spaces. In Turkey, cinema appeared as an institution after the republic was established, spread in 1940s, and became a lifestyle and a means of socialization in 1960s. Pioneering steps of the cinema culture took place in Istanbul and soon spread primarily in big cities such as Ankara, Adana, Izmir, and Eskisehir. Eskisehir also met cinema culture in the republican period. As cinema became a popular means of socialization, the number of movie theaters including open air theaters raised up to 25 in the most vivid period. The advent and expansion of TV in 1970s and video in 1980s, however, undermined the cinema culture. In the later years, the cinema culture which existed in many independent movie theaters spread in various parts of the city transformed into the smaller multi-movie-theaters in sterile spaces, i.e. shopping malls, as a part of shopping and dining culture. The movie theaters were not able to resist capitalism, and closed down one by one, and were erased from the urban space as well as from the memories of the citizens. This research aims at exploring and documenting the transformation of Eskisehir’s independent movie theater buildings, which were considered as spaces of socialization for many years in the modernization process of the republican period.

The article studies the new conception of space (spatiality) as a sociodiscursive construction and the application of this notion in literature. The meaning of place is distinguished from those of landscape, territory and abstract space. The concepts of geocriticism (Bertrand Westphal), heterotopia (Michel Foucault) and chronotope (Mikhail Bakhtin) are used to explain the functions of spatiality (Robert Tally) in literature. After referring to various studies on the literary representation of places like the house, the sanatorium or the environment of death, this paper concludes with an analysis of the movie theaters in Catalan literature and, especially, in the poetry of Vicent Andrés Estellés (1924-1993). [ABSTRACT FROM AUTHOR]

Copyright of APUNTES - Journal of Cultural Heritage Studies is the property of Pontificia Universidad Javeriana 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 APUNTES - Journal of Cultural Heritage Studies is the property of Pontificia Universidad Javeriana 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.)