Cinema Building Research Articles

The Evolution of Cinemas in Prague from the Second Half of the Twentieth Century: A Contemporary Perspective

The article approaches the situation of Prague cinemas in the second half of the 20th century from the end of the Second World War to the Velvet Revolution within the socio-historical background from the point of view of an architect and a cinephile. The entire text is arranged chronologically in four paragraphs reflecting the contemporary political and social situation. It approximates the post-war period full of ideological ideals, when the construction of a dense network of cinemas became a key element of national renewal, not only in large cities but also in the regions. The following decade brought a paradigmatic shift, when local single-screen cinemas gave way to large cultural houses with multifunctional use (film, theatre, gallery, restaurant, sports facilities, etc.). It deals with the socially relaxed sixties, reflecting the synergy of various artistic disciplines, thanks to which Czechoslovakia presented to the world new artistic disciplines based precisely on film projection – “polyekran” (polyscreen) and “laterna magika” (a combination of projection and performance with live actors). The imaginary culmination of the new wave period was the opening of the luxury cinema 64 U Hradeb, which is given more attention in the text below. Furthermore, the text outlines the situation of cinemas in large Prague housing estates and deals with Czech brutalism in the context of foreign architecture and with the only brutalist cinema still operating today – the Dlabačov cinema. The final part of this article gives a brief overview of the total number of cinemas established in this period in the territory of Prague and a comparison with other European metropolises with a similar socio-cultural background. The research has the ambition to understand and approach how to integrate valuable cinema buildings on the territory of Prague into the daily life of contemporary Prague residents through the investigation of the cinema phenomenon, and the development of cinematography and cinema architecture as such, from its inception to the present day. The general logical processing methods are historical and socio-cultural analysis, architectural and urban research including architectural drawings, photographic documentation and a study of the urban development of the appearance of individual cinemas, comparison and deduction.

Analysis of the Influence of Customer Experience and Lifestyle on Unesa Students' Film Watching Decisions at the XXI Cinema Building in Surabaya

Analysis of the Influence of Customer Experience and Lifestyle on Unesa Students' Film Watching Decisions at the XXI Cinema Building in Surabaya

Kajian Dampak Alih Fungsi Terhadap Perubahan Fasad Bangunan Bioskop Ria Pematangsiantar

Ria Cinema is located in Pematangsiantar City. This cinema was built in 1953 and started operating actively in 1955. This building is a cinema building that was built after the end of the Dutch occupation of Indonesia. In 2003, this cinema was no longer actively operating. The main reason is because the cinema does not support the city's economy, in 2022 the former cinema building has been restored and revived by changing its function as a food court which is named Foodcourt Ria Heritage. Transfer of function is the process of an activity that changes the initial function into a new function of a room, a building. Transfer of building functions is a strategy in building preservation. As a historical relic in the field of film, the existence of this building certainly has a lot of potential. This study discusses the description of the changes in the building of the former Ria Cinema in terms of building facades and spatial planning. This study uses a qualitative method with a descriptive approach that aims to describe the observed object. 
 In this study it was found that the conversion of the former Ria cinema building was determined by several elements, namely the facade elements (walls, doors, windows, roof and structures) and spatial elements. This research concludes that the conversion of the former Ria cinema building into a Ria Heritage food court has affected the change in facade elements

HISTORY OF MARKETING COMMUNICATION OF CINEMA PRODUCTION IN THE EXHIBITION INDUSTRY IN JEMBER

This research aims to document the history of cinema product communication for the sake of archiving the history of cinema in the city of Jember. In addition, it also aims to identify and identify the background of the problems that have resulted in the cinema industry in Jember experiencing the closure of operations, so that the problems faced by the local exhibition industry in Jember can be identified. In addition to knowing the history of the development of cinema in the city of Jember.This research focuses on the study of documenting artifacts from the communication process of cinema production in Jember City. Before the industrialization of film exhibitions which was dominated by the Cinema 21 Group and modern cinemas with the Cineplex concept as it is today, the city of Jember once had several local cinema buildings as public spaces to be able to communicate film products to the audience as a fulfillment of the entertainment needs of the Jember people. However, in the 1990s some cinema buildings are now just history. The existence of the cinema building has disappeared from the circulation of the film industry in the city of Jember. The methods used are descriptive qualitative research methods and historical or historical methods. The results of the study are in the form of findings about historical facts and the problems that lie behind the local cinema industry in Jember experiencing operational closures and no trace so that historical documentation and historiography interests or historical writing of local cinema developments in Jember are needed. There are several factors that are indicated to be the cause of the closing of cinemas in Jember, namely: (1) Jember people have experienced boredom with hot films that are often screened in cinemas, (2) The emergence of private TV channels in the 1990s, (3) The ease of obtaining pirated film VCDs and the proliferation of VCD Players in people's homes, (4) The decline in the quality of Indonesian films, and (5) The ease with which people get new films in internet cafes (internet cafes) before the advent of the era of social media such as youtube.

AN INVENTORY STUDY FOR THE CINEMA AND THEATRE SPACES in ANKARA

Theatre and cinema buildings have been significant recreation, entertainment and cultural activities of daily modern life. Many theatre and cinema halls that were constructed in Turkey in 20th century, reflect the life style and the design approaches of the period. With transformation of cities, urban policies, changing cultural and entertainment habits, many of them have lost their function, are away from attention, face maintenance problems and under danger of destruction. 
 Ankara stands out as an important case, where urbanization and cultural politics can be read together over 200 theatre and cinema spaces through 1920’s till up to present day. These spaces had continued their functions for a period and gained a significant place in the memory of citizens. Unfortunately, many of the buildings are already demolished or changed in function. The vast majority of these structures are not known even by experts.
 In sources, it is possible to find partial information in various content about these spaces created by different disciplines. However, there is no study that systematically brings together the data about these buildings. To fill the gap in the literature, this study aims to prepare an inventory including basic knowledge like a catalogue about these theatre and cinema spaces, by combining data from literature research, fieldwork and Ankara Metropolitan Municipality archive. In this study a general assessment is also made by using the data collected in inventory, considering important economic, cultural and urbanization policies that shape the emergence of these spaces.

The Influence of Interior Design on Consumer Decisions in Choosing a Cinema Building

The global expansion of the film industry has an impact on the construction of cinema buildings, including in Indonesia. The construction of the cinema building must pay attention to the interior design, because the interior design will impact the comfort of visitors and create a desire to return at a later date. The purpose of this study was to determine if the interior design of a cinema influenced visitors' choice of a cinema building. According to the study results, the interior design of the cinema influences visitors' interest in choosing a cinema building, as well as what interior design factors influence them.

Moving Objects, Images, and Memories: Hamza Bey Mosque/Alcazar Cinema as an Affective Archive of Thessaloniki

This article focuses on the materiality of the Hamza Bey Mosque/Alcazar cinema building in Thessaloniki and its role in the shaping of subjective and collective experiences of the city. It follows its trajectory through highly transitional, historical times, defined by massive successive demographic shifts in the wider area and by major political and social transformations. Instead of exploring Hamza Bey Mosque and its ambivalent status as a historical monument in relation to the top‑down state policy on cultural heritage, this article intends to restore a layer of the city’s history through the study of the interplay between materiality, inter-sensoriality and the affective responses to the transition of the city of Thessaloniki from the Ottoman Empire to the Greek state.

Penerapan Dekonstruksi dalam Perancangan Bangunan Cinema Complex di Kabupaten Garut

The purpose of this research is to apply the concept of Deconstruction Architecture to the designof the Cinema Complex in Garut Regency. The Cinema Complex is a cinema building which isalso facilitated by other functions, so that it is accommodating to conditions that are facingrecovery towards the Covid 19 Pandemic. The world of entertainment and the community is anecessity to overcome boredom, which during the pandemic imposed restrictions on mostactivities. In Garut Regency, the existence of the Cinema Complex is something new. With the highpotential of young people, a different and up-to-date Cinema Complex design is needed. Therefore,the Deconstruction approach is very suitable to be applied in the design of the building form.Through this approach, it is expected to produce a Cinema Complex building that can become acity icon and provide passion for the community after the pandemic.

ADAPTIVE REUSE ON BIOSKOP DIAN AS A CULTURAL HERITAGE BUILDING GROUP A IN BANDUNG CITY

Abstract- Dian Cinema is an entertainment building in the form of a cinema that was built in 1930 under the name Radio City at that time. Located on Jalan Dalem Kaum no. 58, Bandung, Dian Cinema is the only cinema building left in the Alun - alun area and it is categorized as Group A Cultural Heritage Building in Bandung. In the beginning, Dian Cinema had experienced its heyday by showing a variety of foreign and local films, until it was eventually replaced with a new, more modern cinema concept that made Dian Cinema visitors diminished and eventually closed.
 The transition of functions in this building continues as a billiard sports venue, a place to sell clothes, rental offices, football sports venues, until now, Dian cinema is run into a vacuum of function. This makes the condition of the building become untreated and unmaintained well. In fact, the use of buildings in the right way can save these buildings and have a positive impact on the surrounding environment. Therefore, the proposed of a new function commonly referred to as adaptive reuse is carried out as one of the conservation act of cultural heritage buildings to maintain its history and existence.
 The study uses descriptive methods with qualitative analysis and evaluation, by describing the existing condition of the building. After that, it was conducted on the needs of the area in accordance with Bandung City regulations, conservation theory, analysis of the area and buildings, as well as examples of the successful application of adaptive reuse in Indonesia.
 The results of this study resulted in a new function, the Art Studio and the Performing Gallery which was considered applicable to the Dian Cinema building. The function is chosen based on a series of analysis results such as location, historical value, building characteristics, spatial requirements, to the potential and constraints of the building and area. The existence of new functions in the building is expected to be able to evoke social activities and old historical memories that are starting to fade, increase public knowledge, become an entertainment building and educational tourist destinations, and can participate in maintaining, protecting, and utilizing the existence of Group A Cultural Heritage Buildings in Bandung.
 
 Key Words: Adaptive Reuse, Cultural Heritage Building, Bioskop Dian

PERENCANAAN GEDUNG SINEMA KELUARGA DI KAWASAN PULAU KUMALA PENEKANAN PADA AKUSTIK RUANG

The development of the cinema industry in the city of Samarinda and the development increased significantly. At present, in the city of Samarinda there are 5 famous brand places, namely XX1 Big Mall, XX1 Samarinda Square, XX1 SCP, Cinema 21 SCP, and the newest CGV Cinema Plaza Mulia. The number of developments in East Kalimantan, especially Samarinda and its surroundings was triggered by a considerable attraction from the public for the film industry, from children to the elderly. This gives the potential for regional economic growth from the tourism sector. Therefore, this potential needs to be maximized by involving the construction of the Family Cinema Building in the Kumala Island Region, housing and entertainment clusters, Tenggarong City, Kutai Kartanegara Regency, East Kalimantan.
 This great potential is supported by the strategic tourism area of ​​Kumala Island and the absence of well-known brands in the city of Tenggarong. In addition, Kumala Island as a tourist island that needs to be managed and benefited by the Government and the Tourism Department of Kutai Kartanegara Regency is an attractive tourist attraction for the surrounding community and migrants. Planning this Family Cinema Building will be one of the best attractions for the community, because it supports the family concept, providing 17 mini theater spaces, lounges, parks and other facilities. So the planning of tourist attraction development needs to be done in order to maximize the essence and image of Kumala Island as one of the best tourist destinations in East Kalimantan.

Transformation of Cinema Buildings and Spaces in Nicosia: Early-Mid 20th Century Heritage

Cinemas emerged as a new and genuine expression of culture at the beginning of the 20th century. In the 1920s cinema buildings became important for developing city life and especially as a social public space for entertainment. The period of great success of cinemas was inevitably destined to fade with the arrival of TV. However, this period left behind interesting architectural heritage. On the other hand, the “box of dreams”, the cinema industry, is a suggestive media contributing in defining other aspects of popular culture in a period of hectic changes and progress. The scope of this paper aims to investigate this specific building type, cinemas, within the context of modern heritage value in northern Cyprus. The purpose is to raise awareness on significance of cinema buildings thus to foster their protection and enhancement. The study also aims to investigate the historical relation of these buildings to their environments and neighborhoods as well as their transformed current situations. Some buildings were replaced with new ones, some were abandoned, and some others were converted into different uses. These transformed situations are results of changing economic, socio-cultural life styles and changing morphology of the cities. This paper aims also to stress the role of Cypriot architects and architecture in the international panorama within the Mediterranean area, in a peculiar multicultural context. Common features with other countries and local characteristics of the selected buildings are detected and analysed. Architectural qualities and solutions are studied to understand the reflections of the studied period. This study follows a qualitative research approach. The key discussions are made through investigating the cinema buildings and spaces in Nicosia, Northern Cyprus, as a case study method. This research investigates these buildings and spaces through historical archives, photographic surveys and producing maps for showing the location of these within the historic Walled City of Nicosia and its close surrounding. This stage provides significant data about their historic conditions and surroundings and comparisons with today’s current situations. In addition, interviews with local residents who used these cinemas in those periods are also carried out to support historical information and highlight the socio-cultural and economic understanding of those days.

PERANCANGAN GEDUNG BIOSKOP DI KOTA SINTANG

One of the districts with the largest population, densest population activities, and supporting economy is Sintang District, West Kalimantan Province with a population of 413,369 people in 2018. The increase in the population of Sintang Regency every year results in a high level of work activity and affects the desire to go to entertainment, recreation and tourism places. Many places can be visited in Sintang Regency, one of which is the Bukit Kelam tour. In today's technological era, the cinema building is one of the solutions for entertainment venues, where the audience can devote all their attentions and feelings to the living picture being witnessed. Therefore, the design of the Cinema Building located in Sintang Regency is a solution to provide a forum for the community to enjoy film shows and provide a modern building concept that is inseparable from the cultural elements in Sintang Regency. The concept of layout outside and inside the building is needed as an attraction to the Cinema Building. The theater building has the appeal of a dynamic building with a rectangular shape that follows the concept of a projector with the use of wood colors to make it look more elegant. In the building, the designer added Dayak and Malay ornaments which were elements of the Cinema Building Design concept so that it was not separated from cultural elements.

The new of Pasar Lama: new design with new normal life concept

The Pasar Lama Area of Serang City is one of the strategic areas of Serang City, based on the Serang City Regional Spatial Plan (RTRW) for 2010-2030. But unfortunately, the existing condition of the area is not conducive, because there are many shop stalls and abandoned buildings, and traditional markets that are not well-ordered. This study aims to compile the design of buildings and areas in the Pasar Lama Area of Serang City with the concept of a new normal life that is responsive to the COVID-19 pandemic, so that the quality of the area increases by its designation as a strategic area of the city, and is expected to become a pilot building that is responsive to a pandemic. This research is important because there have not been many building designs that are responsive to the COVID-19 pandemic, especially in traditional markets, even though the market is a vulnerable location to the COVID-19 transmission cluster. The research method uses descriptive qualitative methods, with data collection techniques through observation, interviews, and study of literature. The redesign of the building focused on the Serang Plaza block IV building which was a former cinema building that was redesigned into a clean market (ground floor and 1st floor) and small business and creative industries gallery, mini cinema, and co-working space (2nd floor). The redesigned part of the area is the pedestrian and the ex-slaughterhouse area, which is a typical culinary centre of the City of Serang, with an open system that rotates morning and evening. The recommendation that needs to be done is to explore a collaborative building management scheme and the area, and before starting construction, it is necessary to examine the condition of the existing strength of the building to be redesigned, so that it can be determined to be rebuilt or only partially.

HISTORICAL AND ARCHITECTURAL FEATURES OF THE CITY CINEMAS UDMURT REPUBLIC OF THE EARLY TWENTIETH CENTURY IN THE CENTRAL STATE ARCHIVE OF THE KIROV REGION (CHACO KIROV)

The article deals with historical and architectural features of the city's cinemas that have appeared in the Vyatka Governorate in the territory of the modern cities of the Udmurt Republic in the early twentieth century. On the basis identified in the research work of the author of the documents of the Central State archive of the Kirov Oblast (Kirov), investigated the problems of the structure and construction of cinema buildings, characterized the role of local authorities in the formation and development of cultural institutions in cities. The author finds out the influence of cinema buildings on the folding of the architectural appearance of the cities of Udmurtia, analyzes their location and related problems of formation of urban space. In the Fund of the Vyatka provincial Board (Construction Department) found documents testifying to their reliable architectural appearance, the features of their historical development, design, stages of construction and reconstruction. A valuable component is the confirmation of the authorship of some buildings.

Kina na Dolnym Śląsku: rekonesans historyczny

The highest level of cinema attendance in Lower Silesia after World War II was recorded in 1957. It was higher than before the war and lower than during the war. In the years that followed it steadily declined, influenced by global processes, especially the popularity of television. This leads us to reflect on the continuity of historical and film processes, and to look at the period from the 1920s to the 1960s as the ‘classical’ period in the history of cinema, when it was the main branch of mass entertainment. The examples of three Lower Silesian cities of different size classes (Wroclaw, Jelenia Gora, Strzelin) show how before World War II the development from ‘the store cinema [or the kintopp] to the cinema palace’ proceeded. Attention is also drawn to the issue of the destruction of cinematic infrastructure and its post-war reconstruction. In 1958 the press commented that ‘if someone produced a map with the towns marked in which cinemas were located, the number would increase as one moved westwards’. This was due to Polish (post-war) and German (pre-war) cinema building. The discussion closes with a description of the Internet Historical Database of Cinemas in Lower Silesia, which collects data on cinemas that once operated or are now operating in the region.

‘This is not a cinema’: the projectionist’s tale

‘This is not a cinema’, proclaims the screen in my local Vue cinema in 2017, just before the main feature is shown. This declaration is followed by footage of sports, opera and music festivals, and the claim of a new, plural identity, ‘This is big screen entertainment’, which is spelled out in words and images as ‘Big screen theatre’, ‘Big screen sports’, ‘Big screen opera’ and ‘Big screen festival’. This campaign is a branding ident with a difference for Vue cinemas, the smallest of the three major British chains.1 For what is being negotiated is the identity of the medium, and the drive of the promotion is to diminish the association of cinema buildings and feature films, and replace it with an image of more diverse big screen ‘content delivery’. This is not a cinema – which, as a dedicated building, might seem a bit twentieth century – but something rather more modern, like a portal. A portal – or a computer screen. However, as most of the audience will have very powerful, very small personal computers in their pockets, this association is disavowed through the repetition of ‘BIG’. This is not a cinema; it is somewhere that other events can be experienced both large and loud at premium prices. This policy of the redesignation of cinema, however, is shot through with ambivalence. The short promotional film advocating the spatial and temporal transcendence now available in this not-cinema building is immediately followed by an advertisement for the benefits of Sony 4K, with an instructional edge, informing viewers that now is the time to settle down, turn everything off and enjoy the dark. To behave as if it is a cinema.

The Impact of the Talkies on Scottish Cinema Architecture

The consequences of the introduction of sound for the architecture of cinema buildings is considered with a focus upon examples in Scotland completed in the 1929–30 period. The influence of the building acoustics pioneer, Hope Bagenal, in the design of the New Victoria cinema in London and its consequences for subsequent cinemas in Scotland, designed by Alister G. MacDonald (1898–1993), David Stokes (1908–90) and James McKissack (1875–1940) is explained and contextualized. Their clean-lined and fashionable styling was not only more easily adapted for good sound reproduction but also signified that cinema as a medium was entering a new phase.

Dublin Cinemas in 1916: The Easter Rising, World War One Films and The Growth of the Middle-Class Audience

This article shows how 1916 in Dublin was the year in which cinemas began to successfully attract and keep a middle-class audience. Cinemas used a number of different tactics to entice the middle class including: an enhancement of their musical provision, a presentation of films about World War One in a manner that included presenting the films with music, song and poetry, often performed by servicemen, and finally, a focus on the comforts the cinema building had to offer, which in some cases included refurbishments. The attempt to attract middle-class patrons was instigated by the need to diversify as more and more cinemas were reaching for a pool of the same number of working-class patrons. The article draws extensively upon The Irish Times of 1916 predominately as that paper was the organ of the middle and upper class of the era.

Los “cines del agua” en la provincia de Cáceres, España: un recurso para la didáctica de los lugares desaparecidos y olvidados

El presente artículo analiza cinco antiguos cinematógrafos vinculados a la construcción de otros tantos embalses en la cuenca del Tajo de la provincia de Cáceres desde finales de los años cincuenta hasta los primeros años setenta: Gabriel y Galán, Valdecañas, Torrejón, Alcántara y Cedillo. Estos edificios de cine de los pantanos cacereños desempeñan un papel destacado en la recuperación documental de unos enclaves prácticamente olvidados e invisibles en la actualidad. En ellos se fusiona la relación del agua con el paisaje, con la memoria y con la arquitectura, al tiempo que constituyen una excelente herramienta para la didáctica de las ciencias sociales, especialmente en lo que atañe a la enseñanza del patrimonio en el aula. Y es que, a través de estos inmuebles, el alumno puede adquirir conocimientos arquitectónicos y estilísticos de un entorno tan próximo como a veces desconocido.

Inventarisasi Sarana Dan Prasarana Obyek Wisata Di Kota Banjarmasin

This article aims to identify, classify and mapping facilities and infrastructure of tourism objects in the city of Banjarmasin. Primary data collection techniques using survey methods, interviews, documentation, and literature study. Secondary data obtained from Tourism Department of Art and Culture and Culture and Tourism Office of South Kalimantan Province. Data analysis technique used is spatial analysis. This study used descriptive qualitative method. The results showed that the facilities and infrastructure of tourism objects in Banjarmasin City for basic facilities, supplementary facilities, and the largest supporting facilities is restaurant / restaurant with the number of 26 pieces or 41.27%, the smallest is the tourist transport and cinema building with each amount 1 fruit or 1.51%. Public infrastructure and public utilities in Banjarmasin are the largest ATMs / Banks with 7 units or 30.43%, the smallest is the power station, the provision of clean water, seaports, and communication facilities with each amounted to 1 piece or 4 , 35%. Keywords: Facilities, Infrastructure, Tourism Objects http://dx.doi.org/10.17977/um022v2i12017p046