Movie Theater Research Articles

The Role of Cultural Embeddedness and Social Salience in Coevolution of Related Industries

Previous research suggests that an emerging industry may erode the life prospects of a related incumbent market, when the newcomer industry is based on superior technology, has a more appealing ideology, or generates collective action. It is not well understood, however, why an incumbent industry may decline when those factors are weak or absent. We develop two new mechanisms of cultural embeddedness and social salience to explain such cases. When organizations in the nascent market embed their offerings in cultural artifacts of a related incumbent market and/or achieve social salience by reflecting public discourse, they invoke a sense of familiarity in audiences and in this way alleviate the uncertainty surrounding the novelty on which the emerging market is based. Decreased uncertainty draws audience attention to the new industry, often away from the incumbent market. This effect should be especially strong in the early stages of a new industry development and attenuate as the industry matures. We find support to our theorizing in the archival study of the historical coevolution of the emerging U.S. TV programming industry and the related incumbent market of all movie theaters in Illinois in 1944-1962.

Case Study: Floating Jack-Up Slabs for Multi-Story Cinema in Manhattan

A review of a uniquely designed floated jack-up concrete slab to isolate fourteen movie theaters on multiple floors within a multi-use building. The jack-up boxes were engineered and custom tailored to increase airborne sound transmission loss performance while achieving a very high vibration isolation efficiency specified. Field test results were obtained to validate the floating jack-up concrete's acoustical performance.

The Romance Promoter with A Deadline at 11: Rural Exhibitors, Urban Exchanges, and The Emerging Culture of Film Distribution in The United States, 1918–1925

One of the many reasons distribution has retained its status as the least understood aspect of commercial film culture has been the absence of records, particularly from the late 1910s and early 1920s, when the studio system was formed in the United States. While historians have persuasively argued that exhibitors helped develop moviegoing culture in the early 20th century, these studies have been limited by their reliance on other forms of public media, including local newspapers, trade magazines, and studio house organs. In this article, I use exhibition and distribution records from two small-town movie theater operations, the Adele Theater in Eatonton, Georgia, a town of just 2,500 people in 1920, and the Low Moor Iron Company’s theaters in its company-owned villages of Low Moor, Virginia, and Kaymoor, West Virginia, in order to reconstruct the emergence of distribution as a standardized, and programmatic, practice.

Descriptive Analysis of the Use of Twitter by Cinemaximum Movie Theaters During the Covid-19 Global Pandemic

This study looked into how movie theaters used social media during the pandemic, through the example of Cinemaximum movie theaters and Twitter. The reason for selecting Cinemaximum is that it is Turkey’s largest cinema chain and its movie theaters have the largest number of followers on social media. The study used the descriptive analysis and the content analysis method to examine 1006 tweets shared by Cinemaximum on Twitter between January 1 and December 15, 2020. At the end of the study it was seen that the Cinemaximum Twitter account was used actively in line with the company’s needs during the global pandemic. Differences were seen between shares posted prior to 16 March and those posted after this date. The topic codes identified in the Tweets were classified under 16 different categories. It was seen that the topics covered most in Tweets posted when movie theaters were open were “Films” (movie showtimes and information about the movie to be shown); when movie theaters were closed, “Entertainment” (competitions, games, questions, riddles, messages promoting participation (tagging your friend, etc.), humor, interesting information); and in July, when preparations were being made to reopen movie theaters, “Preparations for reopening the theaters.” When viewed in general, it can be said that the Tweets shared when movie theaters were open and in July when preparations to reopen them were underway were written primarily for marketing purposes, with a focus on advertising and promotion, and that those written when movie theaters were closed were focused on public relations. 

THE NEW AND THE OLD IN THE FILM INDUSTRY: CINEMA, TECHNOLOGY AND NEO-VIEWERS. AN ANTHROPOLOGICAL LOOK AT THE NEW CINEMA.

Since its invention, the cinema art and industry has drawn a lot of attention from people of all sectors. It is nowadays a mass phenomenon reaching a very large audience, which has increased even more due to the proliferation of screens resulting from technological advances. As a result, going to the movie theatre has become simply an option among others. This investigation searches into what motivates the current spectator to watch films and the way in which cinema interacts with the viewer, projecting the cinematographic arts beyond the screen. In short, the research characterises the current spectator within the values and the context around him and uses an anthropological methodology to describe how the new spectator lives the cinema and the way in which the old structures and the new ones interact in our hyperconnected world. The main objective of the research is to approach generally the concept of film viewer in our times.

Real VR

The articles in this special section focus on real virtual reality (VR). Since the times of the Lumiere brothers, the way we watch movies has not fundamentally changed: whether in movie theaters, on mobile devices, or on TV at home, we still experience movies as outside observers, watching the action through a proscenium defined by the size of the screen. Unfortunately, the limited size of the screen causes our peripheral vision to remind us subconsciously that we are only outside observers and not "really there". With the advent of consumer VR headsets, this outsideobserver paradigm of visual entertainment has given way to a truly immersive experience. In immersive displays, the action completely encompasses the viewer, drawing us into the action and providing an acute sense of "being there". Unsurprisingly, this paradigm shift has taken hold first in video gaming where content has always been completely computer-generated. Now, Real VR lays the foundations for the next step: How to import real-world video recordings into VR headsets? To attain this goal, two ambitious challenges must be tackled in unison. Suitable digital representations must be created from real-world footage that allow real-time rendering from arbitrary vantage points, including stereo vision and egomotion parallax. And the degree of perceptual realism of VR headsets must be enhanced to the point where depictions of real-world scenes appear truly genuine to our visual sense. Finding viable solutions to these challenges in Real VR will allow us to experience movies, concerts, or even live sports events with a sense of "being there", which is unattainable with today’s existing technologies.

THE CONSEQUENCE OF MOVIE THEATRE CLOSURES IN THE MIDST OF THE PANDEMIC

Purpose: Subscribing to OTT (Over The Top) platforms and reading fictional or non-fictional books were two of the entertainment options examined in this study. Design/Research Methodology/approach: A total of 351 college graduate students participated in the study, which was performed in Mumbai. We employed regression, ANOVA, independent t test, and mean test. Findings: According to the findings, movie theatres posed as a stumbling block in the way of more OTT platform subscriptions. However, it did not encourage college graduates to read more fiction and nonfiction. Research Implications: OTT services have yet to reach folks who do not attend movies in theatres. OTT platforms may use offline advertising methods such as promotion events in malls or on motorways during this time. Furthermore, OTT platforms have yet to offer ethnically cultural programmes that may appeal to a college graduate of this type. Scope for future work / Research limitations: Only graduate students and a specified age range are included in the study. It is held in a city setting. Among the many options for amusement, the study chose only two. In the future, the study could be expanded by introducing more entertainment options. A post-pandemic investigation could yield a different conclusion. Originality/value: According to a survey of the literature, no research have looked at whether youths have stopped going to the movies. As a result, this research will assist determine whether youths are more likely to migrate to OTT platforms and forego movie theatre trips completely. Key Words: Fictional-non-fictional books, theatre, OTT Platform Paper type: Research paper

Sleeping in the Cinema

Abstract In the 1940s and 50s, Weegee shot a considerable number of photographs in New York City's movie theaters. These photos contribute important insights on the history of cinema spectatorship in the form of visual arguments about the movie audience. This article places the images in dialogue with theories and histories of the disembodied spectator. It discusses the photographer's particular fascination with sleeping moviegoers. The sleepy filmgoer embodies simultaneously the model and counter-model of spectatorial attention. This figure focalizes a strand of theory that associates filmic reception with scattered, dispersive forms of attention that stray from aesthetic or disciplinary norms of absorption.

Review: Adventures of a Jazz Age Lawyer: Nathan Burkan and the Making of American Popular Culture, by Gary A. Rosen

Review: <i>Adventures of a Jazz Age Lawyer: Nathan Burkan and the Making of American Popular Culture</i>, by Gary A. Rosen

Bioeconomy Opportunities for a Green Recovery and Enhanced System Resilience

Bioeconomy Opportunities for a Green Recovery and Enhanced System Resilience

Transfiguring Theaters for Disrespectable Leisure: An Ethnography on Black Womxn’s Ratchet Performances in Movie Showings ofGirls Trip

AbstractThis ethnographic study considers how Black womxn audiences collectively negotiated the politics of respectability in the movie theater, anecdotally referred to as cinema etiquette, in showings of the film Girls Trip. Data were collected in two local theaters in a Northeastern city using field interviews, follow-up telephone interviews, and participant observation. Findings revealed that Black womxn audiences (from various age groups) embodied an intersectional resistance discourse of disrespectability ( Cooper, 2012, 2017, 2018) through their (non)verbal behaviors and an ecology of the senses (i.e., sight and sound) that were situated at the intersection of ratchetness, playfulness, and informality. In doing so, they created a “homeplace,” making an otherwise uncomfortable and highly regulated public space suitable for their collective spectatorship of the film. We argue that Black womxn’s embodiment of ratchetness is not necessarily a unidimensional endeavor, but rather an ever-evolving, multifaceted resource that enables Black womxn to reach political and pleasurable ends.

At the Nexus of cinema, city and memory: Resisting the demolition of Istanbul's historical Emek movie theatre

Emek was the oldest surviving movie theatre in Istanbul when it was demolished in 2013 so that a shopping mall could be built in its place, spawning a persistent civic resistance. Sitting at the juxtaposition of the vibrant literatures on urban studies, film studies, and memory studies, the article demonstrates that emotions, evoked by memories, have a part in triggering urban resistance, adding to the flourishing literature on how emotions inspire and sustain activism. Specifically, it provides ethnographic evidence for the presence of a positive link between place attachment and willingness to engage in place-protective behaviour, stressing the role played by memories in this regard. Focusing on a historical movie theatre, on the other hand, also reveals the complex spatiality of cinematic experience, stressing the importance of social relations and vicinity of the theatre (the street in particular) in this specific context. A final set of contributions derived from the case of Emek relates to the notions of “failure” and “sustainability of activism” given that the resistance to Emek's demolition is characterised by its resilience and persistence as well as a determination to “resist to forget”, despite the failure, practices of emotional reflexivity playing a key role in this respect.

Watching films in Italian East Africa (1936-41). Fascist ambitions, contradictions, and anxieties

ABSTRACT This article examines film consumption within the Fascist empire of Italian East Africa (1936–1941). In dialogue with recent scholarship exploring social and cultural aspects of the Italian presence in the Horn of Africa, it draws on original archival research to investigate the stories, theories and practices underpinning the Fascist intervention. The implementation of itinerant screening by state authorities as well as the organization of distribution, censorship and consumption’s spaces concerning movie theatres will be interpreted within a broad critical framework, which will highlight the impact of the Fascist intervention in the field of colonial culture compared with previous or coeval experiences and projects of film consumption in Africa. Analysis reveals the difficulties in arranging a racially segregated cinematic experience and the related imperfect level of Fascistization of the imperial society, in part because the Fascist empire was short-lived and, especially in Ethiopia, it was constantly threatened by local resistance. However, the article argues that the substantial failure of the Fascistization of film consumption primarily stems from the unsuccessful relationship that Fascism established with pre-existing theatre owners. It also reveals how the transnational nature of film practices de facto inhibited their seamless adaptation to the Fascist’s imperial agenda.

Problems of digital transformation of film distribution

The article provides a brief overview of the emergence of the legal market of online cinemas in Russia. The paper reveals that the Governments of many countries have a national policy that is aimed at maintaining internal programming on traditional video platforms. Such policies range from licensing, which requires serving the “public interest” and defines rules for the distribution of certain types of content produced domestically, to requiring content distributors to contribute to the financing of the production of domestic content. The authors investigate that during the implementation of these rules, the Russian government decided on the allocation of limited resources. There was also regulation on whether platforms can solely decide what content to offer their users, or whether viewers should also participate directly. The study concludes that the transition from traditional platforms to online distribution can reduce the effectiveness of existing regulatory regimes and deprive traditional platforms of audience and revenue.The world and Russian experiences of using the Internet prove that today modern information and telecommunications technologies can contain real threats to the violation of fundamental rights and freedoms of citizens, as well as to question the security of society and the state. The only exceptions are progressive or innovative areas related to the provision of new services and the expansion of opportunities for socio-economic development.As a result of the study, the paper identified four problems of Russian film distribution on digital platforms. The authors chose piracy as the first problem of online cinemas. Pirate sites not only illegally copy content from online movie theaters, but they also create copies of their own services to transfer their servers to another platform in case of blocking. The second problem was highlighted by the requirement for foreign owners. The third problem was highlighted by the high cost of online movie theater subscriptions. The authors consider the fourth problem the lack of financial support from the state.

The Visually Induced Motion Sickness Susceptibility Questionnaire (VIMSSQ): Estimating Individual Susceptibility to Motion Sickness-Like Symptoms When Using Visual Devices.

Two studies were conducted to develop and validate a questionnaire to estimate individual susceptibility to visually induced motion sickness (VIMS). VIMS is a common side-effect when watching dynamic visual content from various sources, such as virtual reality, movie theaters, or smartphones. A reliable questionnaire predicting individual susceptibility to VIMS is currently missing. The aim was to fill this gap by introducing the Visually Induced Motion Sickness Susceptibility Questionnaire (VIMSSQ). A survey and an experimental study were conducted. Survey: The VIMSSQ investigated the frequency of nausea, headache, dizziness, fatigue, and eyestrain when using different visual devices. Data were collected from a survey of 322 participants for the VIMSSQ and other related phenomena such as migraine. Experimental study: 23 participants were exposed to a VIMS-inducing visual stimulus. Participants filled out the VIMSSQ together with other questionnaires and rated their level of VIMS using the Simulator Sickness Questionnaire (SSQ). Survey: The most prominent symptom when using visual devices was eyestrain, and females reported more VIMS than males. A one-factor solution with good scale reliability was found for the VIMSSQ. Experimental study: Regression analyses suggested that the VIMSSQ can be useful in predicting VIMS (R2 = .34) as measured by the SSQ, particularly when combined with questions pertaining to the tendency to avoid visual displays and experience syncope (R2 = .59). We generated normative data for the VIMSSQ and demonstrated its validity. The VIMSSQ can become a valuable tool to estimate one's susceptibility to VIMS based on self-reports.

Support for small businesses during a health crisis

PurposeCrises threaten the operations of small businesses and endanger their survival; however, when the crisis is not attributable to the firm, consumers may rally around the business. This study aims to examine how attitudes toward helping others can create support for small businesses, which in turn can direct consumers to help businesses with increased financial support. It is hoped that this paper will inform how consumers will help firms pivot during crises.Design/methodology/approachA conceptual model was proposed which linked support for helping others to increased willingness to tip/amount tipped. The model was tested using structural equation modeling from two surveys given to customers of two small businesses, a coffee shop and an independent movie theater, respectively.FindingsDuring a crisis, support for helping others has a positive impact on feelings of support for small businesses. Consumers direct their support to small businesses that they are interested in seeing survive and continue operations. They either tip more or tip when they otherwise would not have tipped.Practical implicationsFirms that pivot their operations because of a crisis imposed on them can still generate revenues. Consumers who have a self-interest in the continuing operations of the firm want to support it, and by pivoting their business model, the firm gives consumers the opportunity to give the firm and its employees more than they would have in the form of tips.Originality/valuePrior work in crisis management has focused primarily on how firms recover and respond to a crisis of their doing. Overwhelmingly, consumers have been shown to punish firms during times of crisis. However, for a crisis that is imposed on the firm, consumers may rally behind the firm and respond by supporting it more than they are required to.

Impacts of the COVID-19 pandemic on human-nature interactions: Pathways, evidence and implications.

The coronavirus (COVID‐19) pandemic and the global response have dramatically changed people's lifestyles in much of the world. These major changes, as well as the associated changes in impacts on the environment, can alter the dynamics of the direct interactions between humans and nature (hereafter human–nature interactions) far beyond those concerned with animals as sources of novel human coronavirus infections. There may be a variety of consequences for both people and nature.Here, we suggest a conceptual framework for understanding how the COVID‐19 pandemic might affect the dynamics of human–nature interactions. This highlights three different, but not mutually exclusive, pathways: changes in (a) opportunity, (b) capability and (c) motivation.Through this framework, we also suggest that there are several feedback loops by which changes in human–nature interactions induced by the COVID‐19 pandemic can lead to further changes in these interactions such that the impacts of the pandemic could persist over the long term, including after it has ended.The COVID‐19 pandemic, which has had the most tragic consequences, can also be viewed as a ‘global natural experiment’ in human–nature interactions that can provide unprecedented mechanistic insights into the complex processes and dynamics of these interactions and into possible strategies to manage them to best effect. A free Plain Language Summary can be found within the Supporting Information of this article.

Influences of wing gate turnstiles' characteristics on pedestrian evacuation based on agent-based egress model.

Wing gate turnstiles are widely used in airports, subway stations, railway stations, movie theaters, parks, etc., and influence the pedestrian evacuation greatly while accidents happen. Thus, doing some researches on how to improve the evacuation speed for wing gate turnstiles are meaningful and necessary. In response to this issue, the influences of the wing gate turnstiles on pedestrian evacuation are investigated by pathfinder in this paper. Pathfinder is an agent-based egress simulator that uses steering behaviors to model occupant motion. First of all, by Pathfinder, two evacuation models with flat-shaped and wedge-shaped hosts wing gate turnstiles, respectively, are established, and the simulations of pedestrian evacuation are carried out by computer. The results show the evacuation speed obtained by the wedge-shaped host is faster than that obtained by the flat-shaped host. Moreover, the longest evacuation time is obtained when the channels' width is 90 cm, and the shortest is obtained when the channels' width is 51.4 cm. For a small number of evacuees, the evacuation time is mainly influenced by the original distributions of the evacuees, however, as the number of the evacuees increases, the evacuation time is mainly influenced by the number of the evacuees. Furthermore, the wing gate turnstiles with widened hosts can get less evacuation time no matter whether the hosts are flat-shaped or wedge-shaped, however, the evacuation-time-saved rate obtained by wedge-shaped host is much higher than that obtained by flat-shaped host. Then, the influences of the wedge angle on the pedestrian evacuation are discussed, and the optimal wedge angle is obtained. The obtained results can not only provide helps for managers to evacuate crowds under emergency, but also offer some assistances for designers to design those gate turnstiles or building exits.

User-Oriented Preference Toward a Recommender System

Nowadays, it is convenient for us to use a search engine to get our needed information. But sometimes it will misunderstand the information because of the different media reports. The Recommender System (RS) is popular to use for every business since it can provide information for users that will attract more revenues for companies. But also, sometimes the system will recommend unneeded information for users. Because of this, this paper provided an architecture of a recommender system that could base on user-oriented preference. This system is called UOP-RS. To make the UOP-RS significantly, this paper focused on movie theatre information and collect the movie database from the IMDb website that provides information related to movies, television programs, home videos, video games, and streaming content that also collects many ratings and reviews from users. This paper also analyzed individual user data to extract the user’s features. Based on user characteristics, movie ratings/scores, and movie results, a UOP-RS model was built. In our experiment, 5000 IMDb movie datasets were used and 5 recommended movies for users. The results show that the system could return results on 3.86 s and has a 14% error on recommended goods when training data as . At the end of this paper concluded that the system could quickly recommend users of the goods which they needed. The proposed system will extend to connect with the Chatbot system that users can make queries faster and easier from their phones in the future.

Relation between Parents' Practices and their Children's Screen Time Spent during the Corona Virus Pandemic

Corona virus (COVID-19) is associated with many risks which including the lockdown of schools, movie theaters, and screen time is increased by children with no physical activities at home. Aim of this study was to explore the relation between mothers ’practices and their children screen time spent during COVID-19 in Sohag City. Subjects: & Method: A cross-sectional study research design was used. A purposive sample of 370 mothers living in Sohag City, Egypt, from 15 June 2020 to 30 June 2020 was used to achieve the aim of the current study. Two tools were used to collect the data in the current study, tool (I): A self-administered questionnaire that consisted of two parts: part (1): Socio-demographic characteristics of parents of children, part (2): Socio-demographic characteristics of children, (II): the Parenting Practices Scale through Google form spreadsheet which presented in Facebook and Whats App groups. Results: it observed that mobile was the most type of screen used between children. and more than half of children were their screen time daily from 6-9 hours, majority of mothers reported that their children's screen time had increased during the COVID-19, and, more than half of mothers’ mentioned that they apply rules for their children' screen time. A significant positive correlation was found between mothers' practices and their children's screen time. Conclusion: The majority of mothers’ reported an increasing of screen time was spent by the children during the COVID-19. Recommendations: A well-planned health education programs about screen time spent should be introduced to the children at schools and their parents.