The study task we have received over the assessment week. Is to research a subject ready for the briefing when we get back. I thought for quite a long time in what I could do I also searched for the subject of the day and this came up with newspapers....
But I didn't think this was interesting. And therefore, I didn't feel enthusiastic to delve within that subject.
So I text Sam to give me some words & subjects so that I could chose from then and I didn't end up with nothing on tuesday!
So she gave me, flowers, cinema, sandwiches & perfume.
I chose cinema out of all of them because I thought this had the most to research within and I like going to the cinema on a regular basis and eating popcorn!
History of Cinema:
17th
Century Use of Magic Lanterns
1827
First still photograph taken, using a glass plate technique
Claude Niepce's photograph the View from a Window at Le Gras
took nearly eight hours to expose.
1832
Joseph Plateau and sons introduce the Phenakistoscope. Like
other toys of its kind, the Phenakistoscope was one of the
more successful illusion toys. Pictures on one disc viewed
through slots in the other, appeared to move when the two
were spun and viewed in a mirror.
1834
Another illusion toy - the Zoetrope was introduced by William
George Horner. The Zoetrope used the same principle as Plateau's
Phenakistoscope but instead of discs the pictures and slots
are combined in a rotating drum. Zoetrope's were widely sold
after 1867.
1839 Henry
Fox Talbot makes an important advancement in photograph production
with the introduction of negatives on paper - as opposed to
glass. Also around this time it became possible to print photographic
images on glass slides which could be projected using magic
lanterns.
1846
Important in the development of motion pictures was the invention
of intermittent mechanisms - particularly those used in sewing
machines.
1877
Emile Reynaud introduces the Praxinoscope. Similar in design
to Horner's Zoetrope, the illusion of movement produced by
the Praxinoscope was viewed on mirrors in the centre of the
drum rather than through slots on the outside.
1878
Eadweard Muybridge achieves success after five years of trying
to capture movement. Muybridge was asked, in 1873, by the
ex-governor of California - Leland Stanford to settle a bet
as to whether horses hooves left the ground when they galloped.
He did this by setting up a bank of twelve cameras with trip-wires
connected to their shutters, each camera took a picture when
the horse tripped its wire. Muybridge developed a projector
to present his finding. He adapted Horner's Zoetrope to produce
his Zoopraxinoscope.
1882
Emile Reynaud expands on his praxinoscope and using mirrors
and a lantern is about to project moving drawings onto a screen.
1888
George Eastman devises a still camera which produces photographs
on sensitised paper which he sells using the name Kodak.
1888
Etienne Marey builds a box type moving picture camera
which uses an intermittent mechanism and strips of paper film.
1888
Thomas A. Edison, inventor of the electric light bulb and
the phonograph decides to design machines for making and showing
moving pictures. With his assistant W.K.L Dickson (who did
most of the work), Edison began experimenting with adapting
the phonograph and tried in vain to make rows of tiny photographs
on similar cylinders.
1889
Edison travels to Paris and views Marey's camera which uses
flexible film. Dickson then acquires some Eastman Kodak film
stock and begins work on a new type of machine.
1891
By 1891, Edison and Dickson have their Kinetograph camera
and Kinetoscope viewing box ready for patenting and demonstration.
Using Eastman film cut into inch wide strips, Dickson punched
four holes in either side of each frame allowing toothed gears
to pull the film through the camera.
1892
Using his projecting Praxinoscope, Reynaud holds the first
public exhibitions of motion pictures. Reynaud's device was
successful, using long strips of hand-painted frames, but
the effect was jerky and slow.
1893
Edison and Dickson build a studio on the grounds of Edison's
laboratories in New Jersey, to produce films for their kinetoscope.
The Black Maria was ready for film production at the end of
January.
1894 The
Lumière family is the biggest manufacturer of photographic
plates in Europe A Local kinetoscope exhibitor asks brothers
Louis and Auguste to make films which are cheaper than the
ones sold by Edison.
Louis and Auguste design
a camera which serves as both a recording device and a projecting
device. They call it the Cinématographe. The Cinématographe uses
flexible film cut into 35mm wide strips and used an intermittent
mechanism modeled on the sewing machine. The camera shot films
at sixteen frames per second (rather than the forty six which
Edison used), this became the standard film rate for nearly
25 years.
1894
During this year Woodville Latham and his sons Otway and Gray
began working on their own camera and projector.
1894
Edison's Kinetoscope made its debut in
London. The parlour which played host these machines did remarkably
well and its owner approached R.W Paul, a maker of photographic
equipment to make some extra machines for it. Incredibly,
Edison hadn't patented his kinetoscope outside of the US,
so Paul was free to sell copies to anyone, however, because
Edison would only supply films to exhibitors who leased his
machines, Paul had to invent his own camera to make films
to go with his duplicate kinetoscopes.
1894
Another peepshow device, similar to the kinetoscope arrived
in the Autumn of 1894. The Mutoscope was patented by Herman
Casler, and worked using a flip-card device to provide the
motion picture. Needing a camera he turned to his friend W.K.L
Dickson who, unhappy at the Edison Company cooperates and
with several others they form the American Mutoscope Company.
1895
The first film shot with the Cinématographe camera is La Sortie
de l'usine Lumière a Lyon (Workers leaving the Lumière factory
at Lyon). Shot in March it is shown in public at a meeting
of the Societe d'Encouragement a l'industrie Nationale in
Paris that same month.
1895 R.W Paul and his partner Birt Acres had
a functional camera which was based partly on Marey's 1888
camera. In just half a year they had created a camera and
shot 13 films for use with the kinetoscope. The partnership
broke up, Paul continuing to improve upon the camera while
Acres concentrating on creating a projector.
1895
The Lathams too had succeeded in creating a camera and a projector
and on April 21st 1895 they showed one film to reporters.
In May they opened a small storefront theatre. Their projector
received only a small amount of attention as the image projected
was very dim. The Lathams did however contribute greatly to
motion picture history. Their projectors employed a system
which looped the film making it less susceptible to breaks
and tears. The Latham Loop as it was dubbed later is still
in use in modern motion picture projectors.
1895
Atlanta, Georgia was the setting for another partnership.
C. Francis Jenkins and Thomas Armat exhibit their phantoscope
projector but like Latham, attracts a moderate audience due
to its dim, unsteady projector and competition from the Kinetoscope
parlours. Later that year, Jenkins and Armat split. Armat
continued to improve upon the projector and renames it the
Vitascope, and obtained backing from American entrepreneurs
Norman Raff and Frank Gammon.
1895
One of the most famous film screenings in history took place
on December 28th, 1895. The venue was the Grand Cafe in Paris
and customers paid one Franc for a twenty-five minute programme
of ten Lumière films. These included Feeding the Baby, The
Waterer Watered and A View of the Sea.
1896 Herman Casler and W.K.L Dickson had developed
their camera to go with Casler's Mutoscope. However the market
for peepshow devices was in decine and they decided to concentrate
on producing a projection system. The camera and projector
they produced were unusual as they used 70mm film which gave
very clear images.
1896
The Lumière brothers sent a representative from their company
to London and started a successful run of Cinématographe films.
1896
R.W. Paul continued to improve his camera and invented a projector
which began by showing copies of Acres' films from the previous
year. He sold his machines rather than leasing them and as
a result speeded up the spread of the film industry in Britain
as well as abroad supplying filmmakers and exhibitors which
included George Méliès.
1897
By 1897 the American Mutoscope Company become the most popular
film company in America - both projecting films and with the
peephole Mutoscope which was considered more reliable than
the kinetoscope.
1902
Georges Méliès produces his magnificent "Voyage to the Moon",
a fifteen minute epic fantasy parodying the writings of Jules
Verne and HG Wells. The film used innovative special effect
techniques and introduced colour to the screen through hand-painting
and tinting.
1903
British film maker George Smith makes Mary Janes Mishap which
was praised for its sophisticated use of editing. The film
uses medium close-ups to draw the viewers attention to the
scene, juxtaposed with wide establishing shots. The film also
contains a pair of wipes which signal a scene change.
1903
The American Mutoscope and Biograph Company begin making films
in the 35mm format rather that the 70mm which boosted their
sales. The company went on to employ one of the most important
silent film directors - D.W Griffith in 1908.
1903
Edwin S. Porter, working for Edison makes "The Life of an
American Fireman" which displayed new visual storytelling
techniques and incorporated stock footage with Porter's own
photography. It acted as a major precursor to Porter's most
famous film "The Great Train Robbery" also made in 1903 which
displayed effective use of editing and photography technique.
Different Types of Cinema:
Multiplex
Most movie theatres fall into
the multiplex category. A multiplex is a theatre that show first-run
films, which are the latest films released. Stanley H. Durwood opened the first multiplex in 1963 in Kansas City,
Missouri, with two screens, accordingto the Kansas City Public Library's
website. More than one screen meant more than one movies was shown
separately, which attracted more customers.
IMAX
The IMAX website says, it was conceived by a group of Canadian
filmmakers and entrepreneurs who wanted a new theatre system using a
single, powerful projector rather than multiple projectors. The IMAX 3D are films such as documentaries, which take viewers on journeys to
places beyond the reach of most people, such as outer space and the deep
sea.
Independent and Second-Run
Once multiplexes starting
taking over movie theatres in the 1960s, smaller, one-screen independent
movie theatres began being demolished, like the RKO Orpheum Theatre in
San Diego, the filmsite website states. Other independent movie theatres show second-run movies at a discounted
ticket price Many of these independent theatres are historic theatres,
with art deco architecture.
Drive-In
Richard Milton Hollingshead
Jr. opened the first drive-in cinema on June 6, 1933, showing "Wives
Beware," according to the Water Winter Wonderland website. Tickets were
25 cents per car and 25 cents for additional passengers. Cars parked in a
patented arrangement so everyone would be able to see the screen.
Drive-in movie theatres started appearing across the country, though
Hollingshead had a patent on the design. Most drive-in theatres are in smaller rural areas.
Open Air Cinema
Cleared areas where the audience sits upon chairs or blankets and watch
the movie on a temporary screen, or even the wall of a convenient
building.
Mobile Cinemas
In 1967 the British government launched seven custom built mobile cinema units for use as part of the Ministry of Technology
campaign to raise standards. Using a very futuristic look these 27 seat
cinema vehicles were designed to attract attention. They were built on a
Bedford chassis with a custom Coventry Steel Caravan extruded aluminium body.
Bike-ins
The Bell Museum of Natural History in Minneapolis, Minnesota
has recently begun summer "bike-ins," inviting only pedestrians or
people on bicycles onto the grounds for both live music and movies. In
various Canadian cities, including Toronto, Calgary, Ottawa and Halifax,
al-fresco movies projected on the walls of buildings or temporarily
erected screens in parks operate during the Summer and cater to a
pedestrian audience.
Luxury Cinema
Cinemas in city centers are increasingly offering luxury seating with services like complimentary refills of soft drinks and popcorn, a bar, reclining leather seats and service bells. The Vue Cinema chain is a good example of a large-scale offering of such a service, called "Gold Class" and similarly Britain's
largest cinema chain ODEON have gallery areas in some of their bigger
cinemas where there is a separate foyer area with a bar and unlimited
snacks.
4D Cinema
4D
Dynamic Cinema, is the first 4D cinema to open in Melbourne, Australia.
The cinema uses state of the art technology that employs interactive
seats and unique special effects built into the theatre itself.
By
creating a set of "4D" effects that are synchronized to the film
production, the 4D Theatre adds another layer of immersive fun for
audiences.
Feel
the wind blowing through your hair as you chair moves you through the
crazy rollercoaster ride, swim with sharks or even ride your own formula
one experience. Whatever experience you choose, you feel as though you
are part of the movie without even leaving your seat.
Everyman Cinema
Roman Polanski once remarked that “Cinema should make you forget you are
sitting in a theatre”. So where can you enjoy a cinematic experience,
where you can enjoy cupcakes and chocolate raisins or swap your soft
drink for a nice glass of red wine, and where the cinema feels almost
like a home from home?
Originally built as the Hampstead Drill Hall and Assembly Rooms and later transformed into a theatre,
the
Everyman cinema in Hampstead was first opened in December 1933 and is
now one of Britain's oldest independent cinemas. As local independent
cinema was being edged out by the multiplex boom of the 1990’s, the
Everyman was rescued in 1999 by local businessman, Daniel Broch. What
followed was the development of the Everyman Cinema concept. With this
new direction and the success of the turnaround of Hampstead, the
Everyman Media Group has gone from strength to strength and in March
2008, as part of ambitious expansion plans, acquired the independent
cinema chain Screen Cinemas.
Where film watching is only the half of it, get submersed into an
interactive role play environment where you experience film on a whole
other level. Register with Secret Cinema society online and you’ll get
an email every month giving you the date and location of a mystery
screening. Previous films include Lawrence of Arabia, The Shawshank
Redemption and Casablanca.
Edible Cinema
The concept is simple: a film is chosen, the experimental food designer
caters a menu that is matched to said film, cocktails are made, the film
is screened, the audience relaxes, the audiences eats delicious food
and enjoys a great movie. It’s a multi-sensory experience that’s
designed to enhance and compliment what’s happening on screen.
The event’s emphasis is on great food,
but textures play an intricate part in the experience to an almost
neuroscience scale. With a mixologist from Bombay Sapphire and an
experimental food designer, each screening is a labour of love for the
Edible team.
“We’ll identify a really strong moment in
the film and decide we need something to represent, say, a salty sea
breeze, a heart being ripped out or a crispy newt,” says Zoe. For ‘Pan’s
Labyrinth’, they made a hay-flavoured yoghurt, granola and fig
concoction to enhance the moment when the character Ofelia has bugs
crawling over her. The crispy newt was chocolate covered in seaweed.
Multi-sensory is certainly one of way of looking at it.
Related Information:
Altercations
Patrons are typically angered by cellphone use, talking, and other disturbances during the viewing.
On July 18, 2008, a screening of The Dark Knight
had to be delayed for about an hour because of multiple fights over
saving seats. There was a near riot and police had to be called in.
For example, a screening of Alice in Wonderland
had to be stopped short at the Regal Stadium 14 in Bowie, MD due to a
fight that occurred over a teenager who constantly put her feet on the
chair of a child sitting in front of her. The father of the child had to
be escorted out of the theater by local police.
In February 2011, after a screening of Black Swan in Latvia, a man was shot dead for reportedly eating his popcorn too loudly
Certificates
U : Suitable for all
PG : Parental Guidance
12: Suitable for 12 years or over
12A: Not suitable for anyone younger than 12 unless accompanied by an adult
15: Suitable for 15 years or over
18: Suitable only for adults
Despite the outbreak of war in August 1914, the Hyde Park Picture
House was built and opened ready for business on the 7th November 1914.
The pages of the Yorkshire Evening Post were almost entirely devoted to
news of the war but a small advert announced the opening of the new
Picture House. It proudly proclaimed itself to be "The Cosiest in Leeds"
and to this day this is a title we try our best to live up to.
The first film to be shown at the picture House was Their Only Son,
billed as a patriotic drama and was followed the next week by the
famous invasion drama An Englishman's House. Although few new cinemas
could be built during the war years audiences continued to grow. By
September 1914 over 6000 men had enlisted in Leeds and the cinema
provided news bulletins, war footage and morale boosting dramas as well
as the escapism of lavish productions. In the years to come the cinema
would become the highlight of many people's week.
A vibrant heart within the thriving Hyde Park community. Over time it
became the backdrop to many little off screen dramas. It was a hot spot
for young couples and many a romance blossomed in the back row. The
advent of the talkies in the late 20's didn't hurt the stride of the
little Picture House in the slightest and a quick conversion to sound
was easilly enough achieved but the road was now open for many a new
hurdle. The 30's saw the building of several new city centre 'super
cinemas' capable of seating up to 3000 people at once.
The 50's saw the development of television. In the 80's it was video,
the 90's was the new multiplex surge and the new millenium brought with
it DVDs and the full power of the internet. BUT with all these changes
the Picture House is all the more able to be a constant, a regular
friendly face in an ever changing social landscape.
History of Early Animation:
The magic lantern
The magic lantern
is an early predecessor of the modern day projector. It consisted of a
translucent oil painting, a simple lens and a candle or oil lamp. In a
darkened room, the image would appear projected onto an adjacent flat
surface. It was often used to project demonic, frightening images in
order to convince people that they were witnessing the supernatural.
Some slides for the lanterns contained moving parts which makes the
magic lantern the earliest known example of projected animation
Thaumatrope
A thaumatrope was a simple toy used in the Victorian era.
A thaumatrope is a small circular disk or card with two different
pictures on each side that was attached to a piece of string or a pair
of strings running through the centre. When the string is twirled
quickly between the fingers, the two pictures appear to combine into a
single image. The thaumatrope demonstrates the Phi phenomenon, the
brain's ability to persistently perceive an image
Phenakistoscope
The phenakistoscope was an early animation device. It was invented in 1831 simultaneously by the Belgian Joseph Plateau and the Austrian Simon von Stampfer.
It consists of a disk with a series of images, drawn on radii evenly
spaced around the center of the disk. Slots are cut out of the disk on
the same radii as the drawings, but at a different distance from the
center. The device would be placed in front of a mirror and spun.
Zoetrope
The zoetrope
concept was suggested in 1834 by William George Horner, and from the
1860s marketed as the zoetrope. It operates on the same principle as the
phenakistoscope. It was a cylindrical spinning device with several
frames of animation printed on a paper strip placed around the interior
circumference. There are vertical slits around the sides through which
an observer can view the moving images on the opposite side when the
cylinder spins. As it spins the material between the viewing slits moves
in the opposite direction of the images on the other side and in doing
so serves as a rudimentary shutter. The zoetrope had several advantages
over the basic phenakistoscope. It didn't require the use of a mirror to
view the illusion, and because of its cylindrical shape it could be
viewed by several people at once.
Flip book
The first flip book was patented in 1868 by John Barnes Linnett as the kineograph.
A flip book is just a book with particularly springy pages that have an
animated series of images printed near the unbound edge. A viewer bends
the pages back and then rapidly releases them one at a time so that
each image viewed springs out of view to momentarily reveal the next
image just before it does the same.
Popcorn at the cinema
Today when you go to the movies, you can get all the popcorn you want
with different seasonings for extra variety. But did you ever stop to
wonder how popcorn became the most popular of all Movie Munchies?
Back in the silent era, popcorn wasn't a fixture at all in
theaters. It could be purchased at other places like the circus or stage
shows, but the concession area of a theater lobby didn't even exist.
After all, no one wanted to hear munching and crunching during a silent
film.
With the arrival of talking movies and the Great Depression, popcorn
suddenly exploded, so to speak. Anybody could afford it with prices as
low as five cents a bag, and vendors could get a space inside or outside
a theater to give moviegoers a snack on their way into the theater.
Soon popcorn became a major cash cow for theater owners, who
could spend $10 for a hundred pounds of kernels and sell over a thousand
bags. Most popcorn was generated by hand at first, but during the labor
shortage of World War II (which also saw sugar rationing that cut out
popcorn's main competitor, candy bars), mechanical harvesting made
popcorn faster and easier to make.
They also put a chemical in the popcorn to make the aroma spread and therefore make you want to buy it & makes you hungry.
Food at the Cinema?
Cinema Typical:
Popcorn
Fizzy Pop
Hot dog
Sweets
Crisps
Ice cream
Nachos
Fanta frozen
Kids Meal Pack
Everything you get at a typical cinema you get in takeaway containers. You can buy plastic containers but everything else is made from cardboard etc... This is maybe due to cost issues.
Luxury Cinema:
Burgers
Pizza
Chips
Cocktails
You get food on actual plates and can consume cocktails and alcohol. The experience is more home from home. This is because you pay more for this experience.
First movie ever made?
The First Motion Picture Ever Made - The Horse In Motion (1878)
Eadweard Muybridge's groundbreaking motion photography
was accomplished using multiple cameras and assembling the individual
pictures into a motion picture. Muybridge was commissioned by Leland
Stanford (California governor/ Stanford University) to scientifically
answer a popularly debated question during this era - are all four of a
horse's hooves ever off the ground at the same time while the horse is
galloping? Muybridge's time-motion photography proved they indeed were,
and the idea of motion photography was born.
First Home Movie Ever Made - Roundhay Garden Scene (1888)
Early movie history is surrounded in the mists of time, as different
competitors developed movie technology simultaneously. However, the
Roundhay Garden Scene is thought to be the oldest surviving film on
record.
The Roundhay Garden Scene was directed by the French
inventor, Louis Le Prince and features some members of Le Prince's
family playfully walking around a garden. The film lasts about two
seconds.
First Movie Ever Shot (U.S.A.) - Monkeyshines No. 1 (1889 or 1890)
Monkeyshines, No. 1 may very well be the first movie ever shot using a
continuous strip of film. It was shot as a camera test by W.K.L.
Dickson and William Heise, both of whom worked for Thomas Edison.
Historians are unsure of the exact date this film was shot as it was
filmed to be a camera test and not for commercial purposes.
The film depicts a blurry Edison co-worker goofing off for the camera. It was quickly followed by Monkeyshines No. 2 and 3.
The First Copyrighted Movie Ever Made - Fred Ott's Sneeze (1893-4)
This title goes to Fred Ott's Sneeze,
which reportedly was the first movie ever made at Thomas Edison's Black
Maria rooftop studio. The actual name of this movie is Record of a Sneeze, which was made in late 1893 and copyrighted on January 7, 1894.
This movie was made for the Kinetoscope and not intended to be projected.
First Movie Ever Made for Projection -- Workers Leaving the Lumiere Factory (1895)
Movies for mass public consumption are considered to be the invention
of Auguste and Louis Lumiere. Edison's interest in movies was to sell
his Kinetoscope machines, designed as individual 'peep shows" in which a
person looked into a box and saw a moving picture. The Lumiere brothers
envisioned movies as public showings. The two approaches are like the
difference between listening to an I-pod on your headphones versus
sitting in a theater and listening to a concert.
The Lumiere
Brothers held a private screening of projected movies on March 22, 1895.
This test screening was a success. The Lumiere's then held their first
paid, public screening of movies on December 28, 1895 in the basement
the Salon Indien du Grand Café in Paris. The basement was set up with a
hundred seats. Thirty-three people paid attendance to witness the birth
of cinema.
The program that night consisted of ten Lumiere shorts, each running approximately 46 seconds in length.
While historians consider the Lumiere screening to be the first
demonstration of movies as a commercial medium, they do so because of
the projection system used by the Lumiere brothers. Almost two months
earlier, two other brothers showed moving pictures to a paying audience
using a different technology.
First Motion Picture Projected for an Audience - Berlin Wintergarten Novelty Program (1895)
Max and Emil Sklandanowsky were German inventors who created the
Bioskop, a different technology for showing moving pictures that
involved an elaborate machine using two parallel film strips and two
lenses which were able to flash pictures on a screen at 16 frames per
second. This was enough of a frame rate to give the illusion of motion.
On November 1, 1895, nearly two months before the Lumiere public
showing, the Sklandanowsky brothers presented a moving picture show as
part of the Berlin WIntergarten festival as part of a program of
novelties. The moving pictures were a big hit and played to sold out
shows in the ensuing weeks; however, the Lumiere projection system was
technologically superior to the complicated arrangements necessary to
show Bioskop pictures, which is why the Lumiere's are generally credited
with the creation of the commercial medium we call movies.
Economics of the Cinema
Who Gets What From Your £7-10 Ticket?
Ok, so you walk up to the box office and drop down your £10 to buy your
ticket. Who gets that money? A lot of people assume (as did I at one
point) that the movie theater keeps 50% of it, and the rest goes off to
the studios. That’s not really true.
Most of the money that a theatre takes in from ticket sales goes back
to the movie studio. The studio leases a movie to your local theater
for a set period of time. In the first couple of weeks the film shows in
the theatre, the theatre itself only gets to keep about 20% – 25% of
the green. That means, if you showed up to watch Bridget Jones’ Diary on
opening night, then of the £12 you put out for a ticket, the movie
theatre only got to keep between £2.40 and £3.00 of it.
That’s not a lot of money, especially when you think about how much
bigger and elaborate theatres are these days. It’s not cheap running one
of these places. It can get even worse. This percentage will vary from
movie to movie depending on the specifics of the individual leasing
deal.
The Cost Of Making The Movies
With the cost of today’s movies getting higher and higher, the studios
leverage their position with the theaters to squeeze more and more out
of the arrangement mentioned in point 1. 10 years ago they weren’t
paying Chris Tucker £25 million pounds for one movie… for 3 months
work… a hack… CHRIS TUCKER… £25 million. Superman Returns did NOT need
to cost £200 million to make. Spider-Man 3 did NOT need to cost £250
million to make. These numbers are astounding when you consider that
just 7 years ago they would have called you mad. The pace of costs is
far outpacing the requisite inflation… and there is really no excuse for
it.
This is directly tied to how much you and I pay at the box office,
and thus tied to why popcorn has to cost so much, and thus tied to why
we see commercials. The higher the costs go for for making films, the
higher my costs will be to enjoy a night at the theater.
3) The Organism of the Studio/Theater Relationship
To really make sense of all this, you have to step back and look at the
Studios and the Theaters as one industry entity and view it from the
perspective of how the parts work together to truly get a grasp on how
big and out of control the problem is. You can’t just try to blame the
Studios… nor can you just blame the Theaters. You have to look at them
both as one industry… how it functions… and
ultimately how it affords its mistakes and inefficiencies at our
expense.
The studios spend too much money making movies (and make too many
movies), they squeeze as much box office revenue as they can from the
Theaters thus forcing the theaters to charge us high ticket prices to
make what little they can from each ticket, gouge us at the concession
stand to make ends meet and show commercial after commercial after
bloody commercial to pad some profit.
