Movie Theater Research Articles

공연영상의 라이브니스의 수용자 인식과 관람몰입 연구

This study examined the liveness of the digital theatre in the academic world by applying qualitative analysis techniques, focusing on the effect on the audience's viewing immersion based on previous studies. The conclusions are following: First, viewing immersion was analyzed from the general characteristics of the respondents. In addition, the research questions were derived by analyzing the qualitative contents of the relationship between the digital theatre and the liveness variable. It was confirmed that there is a certain relationship between liveness of the digital theatre and viewing immersion by analyzing watching experiences of the digital theatre in research question 1.2.3, the influencing relationship between liveness and audience's perception in research question 4.5, and the future assignments associated with viewing immersion in research question 6.7.8.9.10. For the future development of the performing arts industry, the following is suggested from the implications of the study. First, the paradigm of the performing arts industry is changing under the technological progress and the digital revolution made up of the development of technology. Audiences are no longer watching at the theater or concert hall only, but they are using various media such as smartphones, computers, TVs, movie theaters, and VR devices everywhere. Therefore, the communication method and interaction with the audiences in the digital era should be different from the previous performing arts. Next, the digital theatre that occurred in a pandemic situation is not a complete substitute for the existing on-site theatre, but a diversified into a new type of performing arts industry, which suggests setting up countermeasures. There are several limitations indicated in this study, therefore follow-up studies are needed. The reasons are not only that it has a limitation of generalization by setting respondents’ pool for in-depth interviewing in order to make a qualitative analysis but also that it was not able to be more intensive discussion due to the lack of previous studies directly related to the digital theatre·liveness·viewing immersion. In particular, there are limitations that there was not specific statistics or data set suggested which is able to indicate the difference between the audiences of a face-to-face performance (i.e., offline theatre) and the audiences of a non-face-to-faceperformance (i.e., online theatre).

Recreational Facilities for Leisure and Pleasure in Shopping Mall in Pakistan

Shopping is a social activity that takes on many forms in various cultures. The goal of this study is to portray modern shopping as a modified behaviour that is often practiced in shopping malls. It also tries to examine current buying behaviour in light of the recreational facilities available to customers. It refers to the use of a shopping mall for a variety of purposes, including ancillary services. To name a few, there is a food court, a play area, a fitness club, a five-dimensional (5D) movie theater, a Baby Chair, an atrium/exhibition hall, free Wi-Fi, and a cinema hall. These user-based amenities have arisen as distinguishing characteristics of shopping malls, emphasizing a mall's uniqueness. This study focuses on a few recreational facilities and then narrows down to recreational facilities sub-categories at a specific retail mall called Emerald Mall. The data is collected in a quantitative manner and presented statistically, with the findings analyzed using criteria relevant to shopping mall quality as a whole. The findings include the identification of inadequate facilities in the food court, play area, and fitness club. At first, there was a Jest five-dimensional (5D) movie theatre, but now it is not available. Furthermore, a baby chair, an atrium/exhibition hall, free Wi-Fi, and a cinema hall were missing.
 According to the findings, the chosen mall requires improvement in a number of areas, while others are already established. The research establishes its contribution as provision of framework and modular analysis of selected study for contextual approach for development of architectural design. In order to solve the detected inconsistencies, the research also suggests design changes in the chosen mall.

The two sides of the scalpel: The polarizing image of surgery in early cinema.

This paper uses extensive database research, film viewing and literature review to show how the field of surgery was staged in the early days of film history. It can be shown that-although surgical medicine was a subject in transition, and many scientific breakthroughs (anesthesia und antisepsis) made surgery less painful and more complication-free-filmmakers still frequently resorted to horror memories of the past and created a questionable, or ambivalent image of the surgeon, sometimes as extreme as the "lunatic with a scalpel" stereotype, blurring the line between genius and madness. But there were also positive staging's: The surgical intervention was often captured on the screen as a last resort for clinically hopeless cases, with the surgeon often presented as a "deus ex machina", the savior out of nowhere. Other specialties, however, such as plastic surgery, were mostly positively dramatized, which reveals a stark contrast to research about the representation of the field in the sound film era. A view at the fields of neurosurgery and (selectively) opthalmo-surgery rounds out the panorama of forty-one surgical films. In summary, it is shown that the early surgical film depicts the specialty and the surgeon in a highly ambivalent way, from savior to monster thereby reflecting one of the most significant transitions in the history of surgery and showing us what image was presented to the public-and thus to potential patients-in the movie theaters.

Bodies and Screens: Aspects for a Phenomenology of Moving Image Installations

The article argues for a phenomenology of moving image installations in three steps. First, I present Vivian Sobchack’s central concept of the film’s body in the context of the cinematic apparatus, paying special attention to aspects that concern non-cinematic projection and differences between film projection in the movie theater and the gallery space. Secondly, I develop Juhani Pallasmaa’s ideas about the phenomenology of architecture to bring into focus the spatial and structural aspects of moving image installations. Then I argue for the concept of “embodied self-reflexivity”, which could quite accurately describe the spectators’ experience of a film exhibited in a gallery or museum. Finally, I provide a brief description and interpretation of two panoramic video installations where the embodied self-reflexivity experienced by the viewers seems to be central to understanding the artworks.

Oregon Theater Project: A Dataset of Oregon Cinemas from the Silent Era

The <em>Oregon Theater Project</em> (OTP) dataset is part of an ongoing collaborative research project by undergraduate students enrolled in successive iterations of “Exhibition &amp; 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 (<a href="https://oregontheaterproject.uoregon.edu/" target="_blank">https://oregontheaterproject.uoregon.edu/</a>) 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.

Its name suggests it belongs here: The power of a community namesake in decreasing founding rates during industry emergence

This study investigates the power of a community namesake, defined as an organization named after the geographic community, in discouraging potential entrants from entering the local market during industry emergence. I argue that the presence of a community namesake is likely to make potential entrants anticipate stronger competition, because they tend to believe that the local membership proudly claimed by the namesake may drive community stakeholders to reciprocate the namesake with disproportionally more resources. During industry emergence, when there lacks objective information on competitive intensity, the presence of a community namesake can be a sufficient cue of a high local entry barrier that deters potential entrants, resulting in lower founding rates during the post-namesake period at the level of communities. I further predict that the namesakes’ symbolic power should vary depending on their material forms. Material forms that corroborate (i.e. through purpose-built buildings) or make salient (i.e. through visually prominent architectures) the namesakes’ claimed local membership should decrease founding rates to a higher degree. The analysis of the emergence of historical movie theaters in Chicago communities, 1905–1927, provides empirical support to the theorizing.

The MetaPharmacy: What Happens When Big Pharma Goes Virtual?

The MetaPharmacy: What Happens When Big Pharma Goes Virtual?

At the Edges of Sleep

At the Edges of Sleep

Butterflies

Butterflies

A Kiss for Cinderella (1925) The Importance of Historical Accuracy in Reconstructing Scores to Silent Films Based on the Mirskey Collection

Abstract Collections of silent film music constitute valuable sources for historical research on the musical practice in the silent film era. The musical prints preserved in the Mirskey Collection were previously used by the author to reconstruct a score for the movie A Kiss for Cinderella (1925, dir. Herbert Brenon). This article describes the historical context considered during the reconstruction and discusses the workflow applied by Nek Mirskey (Bronisław Mirski) as a musical director of movie theatres. A comparative analysis of sheet music from the Mirskey Collection accompanied by handwritten notes, original cue sheet compiled by James Bradford for the Paramount Pictures, and a digitised copy of the film, have led to conclusions that are applicable not only to Mirskey's methods of compiling scores, but also to the more general rules for the development of musical accompaniments to silent films in the 1920s.

Covid-19 And Movie Theaters

The Entertainment Industry underwent a drastic change during the Covid-19 pandemic. The movie theater industry was especially hard hit, as it temporarily lost most of its customer base to general panic and uncertainty as a result of the pandemic. This study aims to determine what long-term effect the Covid-19 pandemic has had on the Movie Theater Industry. To assess any change in the public's view of Movie Theaters, an online survey was distributed among 11th and 12th graders in a West Texas High School, which asked participants to respond to a set of questions inquiring about past and present entertainment habits and expectations. Analysis of the responses demonstrated that the opinion and future likelihood of visiting movie theaters for entertainment had decreased notably, over the course of the pandemic, potentially giving rise to more convenient entertainment alternatives, and implying that the movie theater industry will likely need to adapt and alter the experience they provide in order to retain their audience. Further research is needed to look closer into the economic and social impacts of the Covid-19 pandemic.

Online Movie Ticket Booking System

The development of an online movie ticket booking system for a movie theatre is the goal of this project. The reservation of tickets will be automated with this program. Any user will be able to access a movie theatre's website provided by this movie ticket reservation system There are three logins: admin login, theatre login and user login. The administrator adds or deletes the movies, the theatre operator adds or deletes the show times for a movie, the user books a ticket for a specific movie. The user confirms their choice of seats at the cinema. Once the seats are confirmed, a voice message is issued. At any time, the user can use this website to buy tickets online.

Hardware design &amp; development of a fire alarm circuit in crowded places

This paper gives the brief design of the hardware model &amp; its development of a fire alarm circuit in crowded places is presented in brief. Fire Alarm Circuit is a simple circuit that detects the fire and activates the Siren Sound or Buzzer. Fire Alarm Circuits are very important devices to detect fire in the right time and prevent any damage to people or property. Fire Alarm Circuits and Smoke Sensors are a part of the security systems which help in detecting or preventing damage. Installing Fire Alarm Systems and Smoke Sensors in commercial buildings like offices, movie theatres, shopping malls and other public places is compulsory. There are many expensive and sophisticated Fire Alarm Circuit in the form of stand-alone devices, but we have designed five very simple Fire Alarm Circuits using common components like Thermistor, LM358, Germanium Diode, LM341 and NE555.This is a very simple alarm circuit using Thermistor, LM358 Operational Amplifier and a Buzzer. The primary purpose of fire alarm system is to provide an early warning of fire so that people can be. evacuated &amp; immediate action can be taken to stop or eliminate of the fire effect as soon as possible Alarm can be triggered by using detectors or by manual call point (Remotely). The work presented here is the mini-project work of the second sem students of Electronics &amp; Communication Engineering Department of Dayananda Sagar College of Engg., Bangalore.

Research Progress in the Treatment of Motion Sickness

Motion sickness is a disease characterized by vertigo, nausea, vomiting and other symptoms in traditional transportation and visual information technology. Signs of motion sickness occur in humans and animals when they are at sea, traveling by car or plane, and in space. In addition, some other special conditions, such as simulators, movie theaters, and video games, have also been described as causing pseudo disease. Treatment is directed towards reducing conflicting sensory inputs, speeding up the acclimation process, and controlling nausea and vomiting. At present, there are various clinical treatment methods, taking drugs to relieve vomiting is the main treatment method, but the effect varies from person to person. Therefore, this paper reviews the relevant data published in recent years, aiming to summarize the treatment methods of motion sickness, and provide a reference for the development of new treatment methods with small side effects and good efficacy to reduce the proportion of patients with motion sickness.

THE SHIFTING PARADIGM IN INDONESIAN FILM DISTRIBUTION DURING THE COVID-19 PANDEMIC

Cinemas or movie theaters are one of the industries that can hold its own amidst digital disruption. As a means of distribution and exhibition of conventional films, cinemas have the ability to adapt themselves to various digital innovations; starting from the audio-visual projection device, ticketing, payment system to 3D technology. The existence and survival of a cinema rely on two factors, namely film distribution and moviegoer factors, the COVID-19 pandemic has shifted these two factors. If previously movie distribution and moviegoing occurred conventionally, the two activities have shifted considerably to online distribution/streaming. This study analyzed the paradigm shift in film distribution and moviegoing during and after the pandemic using a “three-stage model of theory building” as an analytical tool which is part of the descriptive-qualitative methodology. The results showed that the COVID-19 pandemic is an anomaly that is shifting the paradigm in conventional film distribution as evidenced by the fact that it is not new media that pose a threat to the existence of cinemas, but the insubstantial social functions and cinema activities during the pandemic. There are five factors why cinemas will continue to develop as a film distribution and exhibition medium post COVID-19: cinema adaptation, big screen sensation, entertainment and social values, historical values, and economic factors.

Projecting the ‘Modern’: The reconstruction of urban cinemas in post-Mao China, 1987–1989

In the midst of China’s market reform during the 1980s, urban cinemas were at the center of the changing cultural landscape, revealing how quickly a distinct urban space could consume, digest, and recycle various consumerist attractions adapted from the West. Following the China Film Corporation’s call for a nation-wide reconstruction of urban movie theaters in 1987, moviegoing as a historically and socially defined activity became deeply rooted in, and further complicated by, urban consumers’ modern experience of public life. By 1991, nearly 2000 movie theaters across China had been renovated and commercialized, contributing significantly to the remapping of China’s urban geography. Through examining newspapers, magazines and floorplans published in the late 1980s, this article proposes a reconsideration of post-Mao urban culture in relation to this unprecedented change in the spatial refashioning of urban cinemas. I argue that the reconstructed movie theater illustrates the complex connections between state policy and mass consumption in the wake of China’s turn to marketization.

A double movement of enclosure and commons: commoning Emek movie theatre in three acts

The article focuses on the relationship between the urban renewal project that led to the demolition of the Emek movie theatre, located in the center of Istanbul, and the commoning struggle, which emerged against the enclosure of the site. The enclosure of the site was a pioneering project intending to control, regulate, and tame socio-spatial relations, curtail ‘unruly’ cultural practices and expunge the history and cultural memory of Beyoğlu district while the commoning struggle stood against not only spatial eviction and social expulsion from the center of the city, but also defied physical, social and cultural marginalization—that is, being decentered from the urban center. In reading this case, I develop a dialectical argument in which enclosure, led by capital and facilitated by the state, unavoidably engenders forms of resistance, which in turn propitiates new forms of commoning. The dialectics of enclosures and commoning practices is understood in three interrelated ‘acts of contestation’: property-making, subjectification and imagination. The first act of property-making relates to the ‘past.’ It discusses how everyday uses of public spaces can become a zone of contestation, problematizing violent histories of the making of state and private property and proposes common property as an alternative. The second act focuses on the ‘present’ of commoning movements and considers how they produce non-capitalist value practices against the process of capitalist subjectification endorsed by the spatial regime of enclosure. The third act, namely imagination, looks at the practices that, while resisting enclosure, also challenge the impossibility of imagining a future different to that of capitalism. As a final act, the article proposes that an emergent culture of the commons is being built even though local commoning struggles seem to fail in the short-term.

Why Did Firms Practice Segregation? Evidence from Movie Theaters during Jim Crow

Why Did Firms Practice Segregation? Evidence from Movie Theaters during Jim Crow

Cinema em tempos de Covid - esperanças e desesperanças do meio e do público brasileiro.

This article’s goal is to estabilish a relation between the rooms occupation, revenues and the movie releases, in Brazil, delimited in São Paulo, during the period immediately before (Feb/2019 to Jan/2019), during (Feb/2020 to Oct/2021- when movie theaters were reopened) e post-pandemic – regardless of this new variant – Omicron – (Nov/2021 to Jan/2022), using the available data base in the Market, as well as the biggest communication vehicle for Brazilian’s cinema. Regarding the movies released in this period, not only the numeral comparatives, but the movie’s genres will be analyzed, as well as the best box office results, regardless of the country’s provenance or the studio that produced it. We intend to demonstrate how the medium managed to transpose this period, regionally, that was awful for all media and how they intend to return its growth.

Investigating basic channel routing matrix using reaper: designing a surround sound 5.1 instruction model for learning

The production and processing of surround sound are only done in the post-production department for movie and home theaters. In our country, there has been no specific teaching on surround sound systems, especially in channeling. We use matrix routing to define the DAW's channel flow arrangement on the soundtrack. Surround Sound spatial sound processing is indispensable for improving film production in Indonesia. Inspired by Dolby Surround, we independently investigated the matrix channeling on the Reaper DAW to identify the specific settings for getting ready audio mixing conditions with a 5.1 surround system. Specific tools are needed to understand large and complex data sets to understand processes. We went through several experiments and time to understand this, collecting observational data through recording and thinking hard until finally, we poured the process into a model of teaching materials. We offer channel patching on some audio interfaces. The design of teaching materials implemented the findings of this study. Furthermore, the teaching material model can be equipped, used, and adjusted to the conditions of the place of study.