Case studyOptimal prices of movie theater tickets

2020 ◽  
pp. 128-153
Author(s):  
Erik Haugom
Keyword(s):  
Movie Theater

Coda

2018 ◽  
Author(s):  
Jocelyn Szczepaniak-Gillece
Keyword(s):  
First Century ◽  
Movie Theater ◽  
Personal Archives ◽  
Twenty First Century

This coda briefly describes the end of Schlanger’s life and the loss of his personal archives. It then points to later examples of neutralization’s impact in screen technologies such as IMAX of the early 1980s. Finally, it argues that neutralization helped shape not only the movie theater at mid-century, but an entire dimension of twenty-first-century spectatorship that insists on a disappearing space to privilege a screen. The coda gestures toward the abiding relevance of Schlanger’s theatrical ideals and the aporia of the optical vacuum they present: at once an every space, everywhere, and a no space, nowhere. To make a house for this still confusing and new thing of the cinema meant also imagining its eventual demise.

Nostalgia for the Dark

2018 ◽  
Author(s):  
Jocelyn Szczepaniak-Gillece
Keyword(s):  
Assembly Line ◽  
Le Corbusier ◽  
Dramatic Play ◽  
Movie Theater ◽  
Modern Machine

This chapter discusses the movie palace’s decline and the beginnings of the neutralized movie theater from the 1920s to 1932. While much scholarship has attributed the transition to either economics after the Depression or the emergence of sound, the chapter argues for the importance of modernist architectural trends, such as the work of Le Corbusier, and new dimensions of spectatorship invested in attention. Modern machine culture reinforced the need for a theater structure that would make spectators into parts of a filmic assembly line. Ben Schlanger emerges as the loudest voice of neutralization, demanding a “slaughtering” of unnecessary decoration in the urban movie theater. His and multiple lighting designers’ work with light and darkness in the theater exemplify the upheavals in 1920s–1930s exhibition: from a theater with a panoply of effects to one centered on the dramatic play of light and dark within the film and its environment.

Designing Services for Happy Times in a Movie Theater

2013 ◽  
Author(s):  
Hsiao-Wei Chiu ◽  
Margaret Nathania ◽  
Yi-Ting Lin ◽  
Xu-Xun Huang
Keyword(s):  
Movie Theater

Negotiation between modernity and local culture in moviegoing practice: A case study of a traditional movie theater in Guangzhou Metropolis

2021 ◽  
pp. 136787792199381
Author(s):  
Geng Lin ◽  
Hao Wu ◽  
Xiaoru Xie ◽  
Fiona Fan Yang ◽  
Zuyi Lv
Keyword(s):  
Social Construction ◽  
Detailed Analysis ◽  
Metropolitan Areas ◽  
Traditional Culture ◽  
Social Characteristics ◽  
Daily Lives ◽  
Movie Theaters ◽  
Movie Theater ◽  
Over Time

As a medium for delivering modernity, movie theaters have faithfully recorded the dialogue between modernity and local daily lives. In contrast to modern movie theaters, traditional cinemas are distinguished by their long history, through which they reflect the changing connotations and social construction of modernity over time. Based on detailed analysis of the historical and social characteristics of Nanguan cinema, a 100-year-old movie theater in Guangzhou, China, we reach the following two conclusions: first, shaped by local traditional culture, the practice of moviegoing localizes modernity with a distinctive grassroots feature that enlivens everyday lives; second, moviegoing at traditional theaters in modern metropolitan areas has further enriched the connotations of modernity by providing a nostalgic experience for audiences.

Cinema, colonialism, and contact zone: the movie theater and city governance in early-twentieth-century Shanghai

2021 ◽  
pp. 1-19
Author(s):  
Qiliang He ◽  
Jie Tan
Keyword(s):  
Twentieth Century ◽  
Contact Zone ◽  
Film Studies ◽  
Public Spaces ◽  
Colonial Power ◽  
Government Officials ◽  
Municipal Council ◽  
Movie Theater ◽  
City Governance ◽  
The Relationship

Abstract Moving away from the text-centered paradigm in film studies, the present research explores the relationship between the growing popularity of the film in Shanghai during the first two decades of the twentieth century and city governance in the International Settlement. It argues that the rise of movie halls contributed to creating a new kind of crowd that blended Chinese moviegoers with non-Chinese viewers. The emergence of the cinema as a space where people of different racial and ethnic origins encountered impelled the Shanghai Municipal Council – the governing body of the International Settlement in Shanghai – to respond by implementing new measures of public safety and altering its decades-long unspoken rules of segregation in the realm of everyday life. For Chinese enlightenment intellectuals and government officials, meanwhile, anxiety over their fellow Chinese's lack of basic decorum in public spaces arose with the intense intermingling of Chinese and non-Chinese filmgoers under the same roof. Thus, the cinema became a “contact zone” – a space of asymmetrical relations resulting not necessarily from colonists' exercise of colonial power but from the Chinese elite's wrapping of the discussion of movie theater etiquette reform within a political and ideological framework of modernization, patriotism, and anti-imperialism.

Filmgoers’ Fingerprints

2021 ◽  
pp. 223-256
Author(s):  
Noah Tsika
Keyword(s):  
United States ◽  
Law Enforcement ◽  
The United States ◽  
Police Departments ◽  
Police Power ◽  
Movie Theaters ◽  
Movie Theater ◽  
Crime Films ◽  
Local Police ◽  
Biometric Information

This chapter focuses on fingerprinting stations, which, from the early 1920s until the late 1950s, were often located in the lobbies of movie theaters and used both in conjunction with crime films and as part of a broader push to collect Americans’ personal biometric information. An increasingly popular component of efforts to normalize civil identification, fingerprinting stations routinely functioned to promote both crime films and local police departments. They also raised alarming questions about the scope of police power in the United States. Fingerprinting stations were naturalized aspects of a cinematic assemblage that served police power, smuggling law enforcement into the local movie theater and making the collection of patrons’ personal biometric information seem continuous both with screen representations and with the wider work of advertising and publicity departments.

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