Screen traffic: movies, multiplexes, and global culture
In Screen Traffic, Charles R. Acland examines how, since the mid-1980s, the U.S. commercial movie business has altered conceptions of moviegoing both within the industry and among audiences. He shows how studios, in their increasing reliance on revenues from international audiences and from the anci...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Durham [u.a.]
Duke Univ. Press
2003
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | In Screen Traffic, Charles R. Acland examines how, since the mid-1980s, the U.S. commercial movie business has altered conceptions of moviegoing both within the industry and among audiences. He shows how studios, in their increasing reliance on revenues from international audiences and from the ancillary markets of television, videotape, DVD, and pay-per-view, have cultivated an understanding of their commodities as mutating global products. Consequently, the cultural practice of moviegoing has changed significantly, as has the place of the cinema in relation to other sites of leisure. Acland explores this transformation by investigating the generation and dissemination of a new understanding of Hollywood movies. Through an innovative integration of film and cultural theory, and with close examination of promotional materials, entertainment news, trade publications, and economic reports, Acland presents an array of evidence for the new understanding of movies and moviegoing that has developed within popular culture and the entertainment industry. |
| Beschreibung: | Includes bibliographical references and index |
| Beschreibung: | XII, 337 S. Ill. |
| ISBN: | 0822331756 0822331632 |
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| 520 | 3 | |a In Screen Traffic, Charles R. Acland examines how, since the mid-1980s, the U.S. commercial movie business has altered conceptions of moviegoing both within the industry and among audiences. He shows how studios, in their increasing reliance on revenues from international audiences and from the ancillary markets of television, videotape, DVD, and pay-per-view, have cultivated an understanding of their commodities as mutating global products. Consequently, the cultural practice of moviegoing has changed significantly, as has the place of the cinema in relation to other sites of leisure. Acland explores this transformation by investigating the generation and dissemination of a new understanding of Hollywood movies. Through an innovative integration of film and cultural theory, and with close examination of promotional materials, entertainment news, trade publications, and economic reports, Acland presents an array of evidence for the new understanding of movies and moviegoing that has developed within popular culture and the entertainment industry. | |
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| 650 | 4 | |a Globalisierung | |
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| 650 | 4 | |a Motion picture audiences | |
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Datensatz im Suchindex
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| adam_text | CONTENTS
List of Tables and Figures, vii
Acknowledgments, ix
I. THEORIZING CONTEMPORARY CINEMAGOING
1. Global Audiences and the Current Cinema, 3
2. Traveling Cultures, Mutating Commodities, 23
3. Matinees, Summers, and the Practice of Cinemagoing, 45
II. STRUCTURES OP CINEMATIC EXPERIENCE
4. Crisis and Settlement in Exhibition and Distribution, 85
5. Here Come the Megaplexes, 107
6. Zones and Speeds of International Cinematic Life, 130
7. Northern Screens, 163
8. The Miniaturization of the Theme Park, or After the Death of Cinema, 196
9. Cinemagoing as Felt Internationalism, 229
APPENDICES
1. Screens per Million Population, 247
2. World Screen Count, 250
3. National Average Cinema Admissions per Person (annual), 253
4. Multiplexing in Europe, 256
5. MPAA s Goals for Digital Cinema, 257
6. Existing Digital Cinemas, 2000,259
7. Digital Movies Released for DLP Projectors, 261
Notes, 263
Bibliography, 299
Index, 325
TABLES AND FIGURES
TABLES
1. Revenue Sources for Major Distributors, 1994, 25
2. Share of Distributors Worldwide Revenues by Media, 25
3. Domestic (U.S.) and International Share of Distributor Box Office Rentals,
27
4. Distributors Revenue from Worldwide Box Office Rentals, 27
5. Domestic (U.S.) and International Share of Distributor Revenues, 28
6. Distributor Revenues, 28
7. Domestic (U.S.) Box Office Receipts, 29
8. U.S. Domestic Box Office Admissions, 73
9. Canadian Motion Picture Theaters, Screens, and Admissions, 74
10. Number of U.S. Theaters and Screens, 75
11. Canadian Employment and Profit of Theaters, 76
12. U.S. Cinemagoing Frequency, jj
13. Cineplex Odeon s Major Acquisitions from 1985 to 1987, 98
14. Concentration of Screens among the Top Four and Top Eight Exhibitors,
99
15. Famous Players Theater Openings, May 1997 to February 1999,114 15
16. U.S. Theaters by Number of Screens, 2001,126
17. Top Fifteen Theater Chains, United States and Canada, December 1990,126
18. Top Fifteen Theater Chains, United States and Canada, December 1998,127
19. Top Theater Chains, United States and Canada, January 2001,128
20. World Screens, 142
21. Sources for the Films Released by Majors, 1997,152
22. Film Releasing, 158
23. Number of Theatrical Films Rated and Released, 159
24. Canada s Top Twenty One Chains, June 2000,173
25. U.S. and Canadian Cinema Openings and Closings, 2000, 2001, and 2002,
226
FIGURES
1. Famous Players Paramount, Toronto, 110
2. Famous Players Paramount, Montreal, 110
3. Famous Players Paramount, Toronto, Club Room, 111
4. Famous Players Paramount, Toronto, front lobby, m
5. Famous Players Paramount, Montreal, upstairs lobby, 112
6. Cineplex Odeon Cinescape at Eau Claire, Calgary, 112
7. Famous Players corporate logo and slogan, 121
8. Cineplex Odeon advertisement for stadium seating, 124
9. Detail from Cineplex Odeon advertisement, 125
10. Cineplex Odeon Egyptien, Montreal, 174
11. Texas Instruments DLP, 215
12. Newspaper advertisement for Gorillaz s concert theatrecast, 220
13. Cineplex Odeon Egyptien, Montreal, closed, 227
14 16. Stills from trailer discouraging cell phones in cinemas, 233
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| spelling | Acland, Charles R. Verfasser aut Screen traffic movies, multiplexes, and global culture Charles R. Acland Durham [u.a.] Duke Univ. Press 2003 XII, 337 S. Ill. txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references and index In Screen Traffic, Charles R. Acland examines how, since the mid-1980s, the U.S. commercial movie business has altered conceptions of moviegoing both within the industry and among audiences. He shows how studios, in their increasing reliance on revenues from international audiences and from the ancillary markets of television, videotape, DVD, and pay-per-view, have cultivated an understanding of their commodities as mutating global products. Consequently, the cultural practice of moviegoing has changed significantly, as has the place of the cinema in relation to other sites of leisure. Acland explores this transformation by investigating the generation and dissemination of a new understanding of Hollywood movies. Through an innovative integration of film and cultural theory, and with close examination of promotional materials, entertainment news, trade publications, and economic reports, Acland presents an array of evidence for the new understanding of movies and moviegoing that has developed within popular culture and the entertainment industry. Cinéma - Publics Distributie gtt Filmindustrie gtt Films - Distribution Internationalisatie gtt Publiek gtt Film Globalisierung Culture in motion pictures Motion picture audiences Motion pictures Distribution Road movie (DE-588)4284691-2 gnd rswk-swf Filmtheorie (DE-588)4071216-3 gnd rswk-swf Publikum (DE-588)4047764-2 gnd rswk-swf Filmwirtschaft (DE-588)4154384-1 gnd rswk-swf Road movie (DE-588)4284691-2 s DE-604 Filmtheorie (DE-588)4071216-3 s Filmwirtschaft (DE-588)4154384-1 s Publikum (DE-588)4047764-2 s HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=010257850&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Acland, Charles R. Screen traffic movies, multiplexes, and global culture Cinéma - Publics Distributie gtt Filmindustrie gtt Films - Distribution Internationalisatie gtt Publiek gtt Film Globalisierung Culture in motion pictures Motion picture audiences Motion pictures Distribution Road movie (DE-588)4284691-2 gnd Filmtheorie (DE-588)4071216-3 gnd Publikum (DE-588)4047764-2 gnd Filmwirtschaft (DE-588)4154384-1 gnd |
| subject_GND | (DE-588)4284691-2 (DE-588)4071216-3 (DE-588)4047764-2 (DE-588)4154384-1 |
| title | Screen traffic movies, multiplexes, and global culture |
| title_auth | Screen traffic movies, multiplexes, and global culture |
| title_exact_search | Screen traffic movies, multiplexes, and global culture |
| title_full | Screen traffic movies, multiplexes, and global culture Charles R. Acland |
| title_fullStr | Screen traffic movies, multiplexes, and global culture Charles R. Acland |
| title_full_unstemmed | Screen traffic movies, multiplexes, and global culture Charles R. Acland |
| title_short | Screen traffic |
| title_sort | screen traffic movies multiplexes and global culture |
| title_sub | movies, multiplexes, and global culture |
| topic | Cinéma - Publics Distributie gtt Filmindustrie gtt Films - Distribution Internationalisatie gtt Publiek gtt Film Globalisierung Culture in motion pictures Motion picture audiences Motion pictures Distribution Road movie (DE-588)4284691-2 gnd Filmtheorie (DE-588)4071216-3 gnd Publikum (DE-588)4047764-2 gnd Filmwirtschaft (DE-588)4154384-1 gnd |
| topic_facet | Cinéma - Publics Distributie Filmindustrie Films - Distribution Internationalisatie Publiek Film Globalisierung Culture in motion pictures Motion picture audiences Motion pictures Distribution Road movie Filmtheorie Publikum Filmwirtschaft |
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