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Journal articles on the topic 'The multiplex cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

Collins, Alan, Chris Hand, and Andrew Ryder. "The Lure of the Multiplex? The Interplay of Time, Distance, and Cinema Attendance." Environment and Planning A: Economy and Space 37, no. 3 (March 2005): 483–501. http://dx.doi.org/10.1068/a3756.

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Models of cinema demand have tended to employ aggregate data and focus on price and income as key variables. Surprisingly, the effects of travel time and location have not been formally investigated. The authors do so, following developments in the environmental economics literature, by presenting estimates of individual travel cost models for multiplex and nonmultiplex cinemas. A key finding is that travel time has a significant negative effect on nonmultiplex cinema trips, but that this does not hold for multiplex trips; reasons for this are advanced. In the case of multiplex cinema trips, a range of phenomena relating to minimising time-cost uncertainty are shown to be significant. The authors also contribute to an explanation for the ‘overscreening’ phenomenon observed in the United Kingdom and the USA, which has led to the closure of some relatively recently built multiplexes.

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2

Hanson, Stuart. "‘Entering the age of the hypermarket cinema’: The First Five Years of the Multiplex in the UK." Journal of British Cinema and Television 14, no. 4 (October 2017): 485–503. http://dx.doi.org/10.3366/jbctv.2017.0390.

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During the first five years of its development from the opening of The Point in Milton Keynes in 1985, multiplex cinemas radically changed the previous exhibition landscape, modernising the business of cinema exhibition and shifting the site of film consumption to new, out-of-town shopping and leisure centres. This article considers certain key developments in that initial period of the multiplex cinema's introduction into the UK, with particular emphasis on three aspects of its diffusion: the importance of regeneration and enterprise, the multiplex's role in stimulating associated leisure and commercial developments, and its relationship to out-of-town and regional shopping developments. In order to illustrate these themes, the article will consider the opening of four complexes: The Cannon in Salford Quays, and the AMC multiplexes in Telford in Shropshire, in Sheffield and in Dudley Merry Hill in the West Midlands.

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3

Hames, Peter, and John Cunningham. "Hungarian Cinema from Coffee House to Multiplex." Slavic and East European Journal 49, no. 3 (October 1, 2005): 526. http://dx.doi.org/10.2307/20058330.

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4

Park, Young-Seo, and Sungil Ham. "Spatial analysis of various multiplex cinema types." Frontiers of Architectural Research 5, no. 1 (March 2016): 63–73. http://dx.doi.org/10.1016/j.foar.2015.11.001.

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5

Devasundaram, Ashvin. "Cyber Buccaneers, Public and Pirate Spheres: The Phenomenon of Bittorrent Downloads in the Transforming Terrain of Indian Cinema." Media International Australia 152, no. 1 (August 2014): 108–18. http://dx.doi.org/10.1177/1329878x1415200112.

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The polemic circumscribing the rise and regulation of new independent Indian cinema is a compelling example of vicissitudes in India's public sphere. This article locates a growing access to new independent Indian films through pirate spheres, reflected in the burgeoning popularity of BitTorrent websites, particularly among young, urban Indians, disenchanted by inaccessibility due to regulations and multiplex cinemas' expensive ticket-pricing system. It precipitates deeper discourses of ‘migrating’ cinema audiences, an ambivalent state of film and internet regulation, and civil resistance, exemplified in the recent Madras High Court volte face, unblocking banned BitTorrent websites. This article invokes interviews with independent filmmakers also utilising the paradigm of independent Bengali film Gandu (2010) – purportedly denied a release for its graphic sexual content, and yet widely accessed via BitTorrent and YouTube. Ultimately, this study examines the discursive ramifications of new independent Indian cinema in a metamorphosing Indian cinema sphere.

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Tsukernikov, Ilya, and Alexandr Fadeev. "RESULTS OF A SERIES OF ACOUSTIC MEASUREMENTS OF NOISE PENETRATING THROUGH THE PARTITION BETWEEN TWO CINEMAS." Akustika 32 (March 1, 2019): 195–200. http://dx.doi.org/10.36336/akustika201932195.

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The number of cinemas has increased over the past 10 - 15 years in Russia. The main part of new cinemas is multiplex cinemas in the shopping and entertainment malls. It is mean that in multiplex two cinemas may show the movies at the same time. The problem of airborne sound isolating by a partition/slab between two multiplex cinemas halls is considered. The analysis of the regulatory and technical documents (the International Standard, and the national documents of the Russian Federation, as well as the corporative standards of international cameramen) is done. The levels of penetrating noise through a partition between two cinemas halls are measured for two cinemas. The discrepancy between the estimated sound insulation parameters and the requirements of the current regulatory documents are shown. A series of field measurements of acoustic parameters is carried out. The discrepancy of the airborne sound insulation parameters by partition is shown. The case of one-number estimation of airborne of sound isolation in the law frequency range is considered. The influence of acoustic finishing on the levels of penetrating noise from one cinema hall to another is estimated.

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7

Geistefeldt, Helmut. "Combined Prestress at Longspan Slabstructures for Multiplex Cinema." IABSE Symposium Report 86, no. 5 (January 1, 2002): 8–14. http://dx.doi.org/10.2749/222137802815776504.

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8

Athique, Adrian. "From cinema hall to multiplex: A public history." South Asian Popular Culture 9, no. 2 (July 2011): 147–60. http://dx.doi.org/10.1080/14746681003798037.

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9

Athique, Adrian Mabbott, and Douglas Hill. "Multiplex Cinemas and Urban Redevelopment in India." Media International Australia 124, no. 1 (August 2007): 108–18. http://dx.doi.org/10.1177/1329878x0712400111.

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The aim of this article is to introduce the phenomenon of the multiplex theatre as it is being played out within the complex urban geographies of metropolitan India. Since its inception a decade ago, the multiplex cinema in the subcontinent has become an intrinsic component of a new leisure infrastructure configured around the notion of a ‘consuming class’ keen to take its place amongst a ‘global middle class’. The dramatic growth in multiplex cinemas, projected to grow in numbers by 300 per cent over the next three years, has been greatly encouraged by urban planning and taxation policies designed to encourage new commercial and residential developments arising out of urban regeneration programmes and the growth of satellite conurbations. This article makes the case that, while the multiplex is an example of flagship architecture employed in the ‘globalisation ‘of the urban environment, the demand for such facilities is also a logical extension of the long-running contest over public spaces between different segments of the urban population in Indian cities.

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10

Lee, Seung-min. "A Study of User Experience of Multiplex Cinema App." Journal of Digital Contents Society 20, no. 8 (September 30, 2019): 1799–807. http://dx.doi.org/10.9728/dcs.2019.20.9.1799.

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11

Boddy, W. "Beyond the Multiplex: Cinema, New Technologies and the Home." Screen 49, no. 1 (January 1, 2008): 95–98. http://dx.doi.org/10.1093/screen/hjn009.

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12

Smith, Justin. "Cinema for Sale: The Impact of the Multiplex on Cinema-going in Britain, 1985-2000." Journal of British Cinema and Television 2, no. 2 (November 2005): 242–55. http://dx.doi.org/10.3366/jbctv.2005.2.2.242.

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13

BAILEY, MATTHEW. "Shopping for entertainment: malls and multiplexes in Sydney, Australia." Urban History 42, no. 2 (November 11, 2014): 309–29. http://dx.doi.org/10.1017/s0963926814000583.

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ABSTRACTThis article examines multiplex cinema development and its close association with shopping centre expansion programmes in Australia. The article argues that while multiplex cinema construction in Australia echoed international developments, it also resulted from coalescing interests between local retail developers and film exhibitors, was guided by planning legislation and shaped by escalating institutional investment in the retail industry. Data mapping the emergence, growth and consolidation of multiplexes in Sydney, Australia's largest city, is used to illustrate this development, contributing to urban histories of the city and understandings of the ways in which its contours have been reshaped by consumer capitalism.

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오은경. "Cinema, Technology, and the ‘Social’ －From Kino-Eye to Multiplex－." Film Studies ll, no. 55 (March 2013): 361–84. http://dx.doi.org/10.17947/kfa..55.201303.012.

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15

Dawson, Max. "Beyond the Multiplex: Cinema, New Technologies, and the Home (review)." Technology and Culture 48, no. 2 (2007): 436–38. http://dx.doi.org/10.1353/tech.2007.0064.

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16

Murphy, Caryn. "Generation Multiplex: The Image of Youth in Contemporary American Cinema (review)." Velvet Light Trap 52, no. 1 (2003): 67–70. http://dx.doi.org/10.1353/vlt.2003.0019.

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Nguyen, Thi Hanh Dung, Jinseo Park, and Myung-su Chae. "The Effects of Service Factors on Customer`s Consumption Value and Revisit Intention in Multiplex Cinema Service: Focusing on Multiplex Cinema Service in Korea and Vietnam." International Area Studies Review 21, no. 2 (June 30, 2017): 197–218. http://dx.doi.org/10.21212/iasr.21.2.9.

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18

Hubbard, Phil. "Screen-Shifting: Consumption, ‘Riskless Risks’ and the Changing Geographies of Cinema." Environment and Planning A: Economy and Space 34, no. 7 (July 2002): 1239–58. http://dx.doi.org/10.1068/a3522.

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It is widely acknowledged that the geography of film exhibition in the urban West has changed significantly as ‘traditional’ town centre and suburban cinemas have been supplemented, and in some cases supplanted, by multiplex cinemas in out-of-town locations. In this paper I explore the reasons for this shift, using case-study data from Leicester (United Kingdom) to explore the forms of sociality played out in different sites of film exhibition. These data suggest that multiplex cinemas are frequented predominantly by consumer groups seeking an ‘exopolitan’ leisure experience that is predictable and riskless. In contrast, it appears there are many who continue to frequent city-centre and suburban cinemas because they prefer the less predictable ambience of ‘urban’ leisure. The coexistence of these different forms of cinemagoing is discussed in relation to unfolding debates about the postmodern city—a city that accommodates consumers' predilection for ‘riskless risks’ by holding different forms of sociality apart.

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19

Irfan, Mohammad, and Kaushal Patel. "Viewer’s Multiplex Choice Decision: A Study of Miraj Cinema in Vadodara City." International Journal of Management Studies VI, no. 2 (February 28, 2019): 50. http://dx.doi.org/10.18843/ijms/v6si2/08.

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20

Aveyard, Karina. "Film consumption in the 21st century: engaging with non-theatrical viewing." Media International Australia 160, no. 1 (August 2016): 140–49. http://dx.doi.org/10.1177/1329878x16642851.

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Film consumption has changed dramatically in recent decades. The rise of the multiplex has reconfigured the public experience of cinema. At the same time, movie viewing has grown exponentially in domestic and mobile spheres, driven by increasingly flexible access to content and the diversity of screens this material can now be delivered to. While the history of movie watching in theatres has been relatively well traversed, the more recent and highly popular practice of viewing outside cinemas remains significantly under theorised. This article takes up the issue of this critical neglect. It suggests that the practice of watching movies needs to be conceptualised in more integrated manner and that theories successfully applied to understanding digital, Internet and mobile media may be considered equally relevant to film.

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21

Fanchi, Mariagrazia. "Andare al cinema a Milano. Fra trasformazioni nazionali e specificità locali." TERRITORIO, no. 95 (May 2021): 99–108. http://dx.doi.org/10.3280/tr2020-095011.

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Il saggio tratteggia la storia del rapporto fra cinema e pubblici a Milano attraverso quattro affondi che colgono altrettante svolte nell'esperienza degli spettatori del capoluogo lombardo: la costruzione di un modello ‘rilocato' di fruizione del film, durante gli anni '50; l'emergere di un'esperienza crepuscolare del cinema, nella seconda metà degli anni '60; l'affermarsi, alle soglie del nuovo millennio, di un modello di intrattenimento esteso legato alla diffusione dei multiplex; la recente emersione di un'esperienza diffusa del film, sostenuta dalle piattaforme digitali come Netflix e dalla metamorfosi dello spettatore. Quattro momenti che anticipano e contribuiscono a innescare analoghi cambiamenti su scala nazionale.

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22

Hagopian, Kevin Jack. "A Review of: “Beyond the Multiplex: Cinema, New Technologies, and the Homeby B. Klinger”." Communication Review 10, no. 2 (May 29, 2007): 175–78. http://dx.doi.org/10.1080/10714420701350478.

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23

Bellour, Raymond. "“Cinema, Alone”/Multiple “Cinemas”." Alphaville: Journal of Film and Screen Media, no. 5 (August 1, 2013): 116–43. http://dx.doi.org/10.33178/alpha.5.08.

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This lecture was presented as part of a series of twenty-five conferences on cinema and the arts held between 2001–2002 at the Collège d’Histoire de l’Art Cinématographique, Cinémathèque française. It was first published in French, as “Le Cinéma seul/Multiples ‘cinémas’”. Le Septième Art. Le cinéma parmi les arts. Ed. Jacques Aumont. Paris: Léo Scheer, 2003, 257–80. Print. Some elements of the essay have since been integrated in the introductory chapter of La Querelle des dispositifs. Cinéma – expositions, installations, coll. “Trafic”. Paris: P.O.L, 2012. Print.

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24

Sahu, Ipsita. "From the Ruins of Chanakya: Exhibition History and Urban Memory." BioScope: South Asian Screen Studies 9, no. 1 (June 2018): 73–96. http://dx.doi.org/10.1177/0974927618767285.

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Unlike the somewhat natural decay of other single screen theatres of Delhi, the demolition of the famous Chanakya cinema (1969–2008) was an iconoclastic event. When the theatre was demolished in 2008 to pave the way for a multiplex and shopping mall, a wide and intensifying wave of dissent reigned, as the city was rudely awakened to the realities of urban transformation. At a time when film theatres had started to decline in India with the emergence of home entertainment in the 1970s and 1980s, Chanakya theatre offered a distinctive culture of cinema and urban leisure to the middle-class residents of Delhi, foreshadowing the multiplex imagination decades before its arrival. This article attempts to understand the Chanakya story and its theatrical legacy as a prehistory of globalisation. It explores the phenomenon of Chanakya’s auratic presence in the city’s imagination as it maps the theatre’s biographical journey, starting from its precarious inception in one of the more remote areas of Delhi through to its prominent place in the city’s cultural life for almost 30 years, followed by its afterlife as a potent emblem symbolising the end of a bygone era in the city’s collective memory. The micro-analysis of the Chanakya story explores the complex circuits within which architecture, film text, urban materiality and public memory converge.

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25

Rogowski Pozzo, Renata. "TELAS MIGRANTES: UMA GEOGRAFIA URBANA DAS SALAS DE EXIBIÇÃO COMERCIAL NO BRASIL DO SÉCULO XXI." Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual 9, no. 1 (August 9, 2020): 57–80. http://dx.doi.org/10.22475/rebeca.v9n1.622.

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Este escrito apresenta uma contribuição da geografia ao entendimento do processo de fechamento das salas de cinema de rua vivido no Brasil especialmente entre as décadas de 1980 e 1990 e sua migração para as grandes cidades no formato multiplex. A imposição tecnológica da reformulação arquitetônica das salas correspondeu à sua concentração territorial em mercados aglomerados e mais lucrativos que as pequenas cidades da imensidão interiorana brasileira. Mas esta questão não explica-se unicamente a partir da transição tencológica - trata-se de uma questão urbana. A existência de salas de cinema de rua encontra sentido na configuração social da cidade moderna brasileira típica da primeira metade do século XX, quando as ruas ainda apresentavam-se como espaços de encontro. Entendemos que esta migração das salas do interior para as grandes cidades e das ruas para os shoppings impactou o que se assiste e quem assite ao cinema no Brasil. Note-se que a localização geográfica das salas comerciais de exibição acompanha o mapa do desenvolvimento regional brasileiro, o que reproduz-se também na escala intra-urbana. O presente artigo demonstra como articulamos a dimensão da exibição cinematográfica comercial de filmes brasileiros pensada a partir da história de nosso desenvolvimento territorial e urbano.

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26

Monticone, Paul. "Beyond the Multiplex: Cinema, New Technologies, and the Home. Barbara Klinger. Berkeley: University of California Press, 2006." Canadian Journal of Film Studies 17, no. 2 (October 2008): 102–5. http://dx.doi.org/10.3138/cjfs.17.2.102.

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이정훈, 정종식, and 김준호. "Study on Customer Satisfaction Influenced by the Quality of Service, Physical Environment and Brand Recognition of a Multiplex Cinema." Journal of Distribution and Management Research 16, no. 4 (September 2013): 61–73. http://dx.doi.org/10.17961/jdmr.16.4.201309.61.

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28

Hanson, Stuart. "A ‘Glittering Landmark for a 21st Century Entertainment Centre’: The history of The Point multiplex cinema in Milton Keynes." Historical Journal of Film, Radio and Television 33, no. 2 (June 2013): 270–88. http://dx.doi.org/10.1080/01439685.2013.798078.

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Hanewinkel, Reiner, James D. Sargent, Barbara Isensee, and Matthis Morgenstern. "Smokers’ Attitude and Intention to Quit after Seeing a Movie with Smoking." SUCHT 58, no. 5 (January 2012): 327–31. http://dx.doi.org/10.1024/0939-5911.a000206.

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Aims: To assess the association between seeing smoking in a movie and adolescent and adult smokers’ attitude towards smoking and intention to quit. Methods: A natural experiment was conducted in a multiplex cinema. We conducted exit interviews with 4,073 movie patrons, of whom 645 (16 %) were smokers. Eleven per cent (n = 69) of the smokers were aged 14 to 17 years old. Subjects had exited 26 movies, of which 12 (46 %) contained smoking. We used multilevel mixed-effects linear regression to assess the effects of (a) exposure to movie smoking (yes vs. no), and (b) age (adolescent vs. adult smokers) on general attitude towards smoking and intention to quit smoking within the next 6 months (both scales ranged 0 – 10). Results: Smokers who saw a movie with smoking had more favourable attitudes towards smoking than those seeing a movie without smoking (p = 0.004). A significant interaction between age group and movie smoking indicated that this difference was more pronounced in adolescent smokers (p = 0.035). No significant differences were found for intentions to quit smoking. Conclusions: Study results suggest that smoking in the movies may influence young smokers to have a more favorable attitude towards smoking.

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Frodon, Jean-Michel. "Answers." Studies in World Cinema 1, no. 1 (January 27, 2021): 87–91. http://dx.doi.org/10.1163/26659891-0000b0004.

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Abstract The answers below touch on three different meanings of world cinema. First, world cinema is the acknowledgement of an existing cinema originated in the diversity of geographical and cultural contexts from all over the globe and expresses the rise of multiple local cinemas on a common international scene. Second, world cinema denotes to the films that proved to be recognizable as artistically valuable through these channels (festivals, critics, niche distributors) and conveys the idea that only certain types of films would be accepted on the international scene. And third, world cinema relates to a more specific type of films, that are not so many but gives a particular visibility to an immensely vast phenomenon with films that are either “without borders”, or mixing various origins and references. By keeping these in mind, the research on world cinema should be issue based, acknowledging de vast rainbow of various ways to make cinema, related with socio-economical and cultural contexts, political environment, inscription in various aspects of history of cinema aesthetics and other artistic and cultural means of expressions, local, regional and global. The films of world cinema are, or at least should be objects of research, objects of thinking, but also if not primarily objects of love.

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31

Lay, Samantha. "Book Review: Barbara Klinger. Beyond the Multiplex: Cinema, New Technologies, and the Home. Berkeley, CA: University of California Press, 2006, 310 pages, $24.95, ISBN: 0 520 245865 (pbk)." Convergence: The International Journal of Research into New Media Technologies 14, no. 1 (February 2008): 121–22. http://dx.doi.org/10.1177/1354856507087297.

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32

Nag, Anugyan, and Spandan Bhattacharya. "The Politics Around ‘B-Grade’ Cinema in Bengal: Re-viewing popular Bengali film culture in the 1980s‒1990s." Acta Orientalia Vilnensia 12, no. 2 (January 1, 2011): 13–30. http://dx.doi.org/10.15388/aov.2011.1.3935.

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Jawaharlal Nehru UniversityThe 1980–90s was a turbulent period for the Bengali cinema, the events being triggered by a series of industrial problems, the anxiety of a new film public and the pressing necessity for newer forms of articulation. During this time, Bengali popular cinema responded with newer genres of narratives (elaborated later) that emerged from dissimilar aesthetic positions and different social perspectives. But it is unfortunate that instead of engaging with this diverse range of film making practices, the journalistic and academic discourses on the 1980–90s Bengali cinema present only the ‘crisis-ridden’ scenarios of the Bengali film industry―suffering from multiple problems. Interestingly, this marginalized and unacknowledged cinema of the 1980–90s almost became synonymous to the concept of the ‘B-grade’ cinema, although it is not similar in formation, circulation and reception like the other established B-circuit or B-grade cinemas across the world. This paper aims to criticize this simpler ‘crisis narrative’ scenario by looking at the categories of class and audience and questioning the relevance of issues related to the popularity of these films. In brief, our article aims to problematize the notion of what is ‘B-grade’ cinema in the context of the Bengali cinema of the 1980–90s and by referring to this film culture, it tries to open up some other possibilities to which this notion can refer.

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Petrie, Graham. "Hungarian Cinema: From Coffee House to Multiplex. By John Cunningham. London: Wallflower Press, 2004. Dist. Columbia University Press, xiv, 258 pp. Appendix. Notes. Bibliography. Index. Filmography. Photographs. $67.50, hard bound. $24.00, paper." Slavic Review 64, no. 2 (2005): 422–23. http://dx.doi.org/10.2307/3650006.

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Lunde, Arne. "Knut Hamsun at the movies in transnational contexts." Nordlit 13, no. 2 (September 1, 2009): 41. http://dx.doi.org/10.7557/13.688.

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This historical overview examines how the literary works of Knut Hamsun have been adapted into films over the past century, from early silent cinema to the digital age. It traces how different national and transnational cinemas have appropriated the author's texts at different historical moments. Nazi propaganda minister Joseph Goebbels, for example, took a keen interest in two Third Reich adaptations of Hamsun novels (Victoria and Pan) in the 1930s. Pan remains the Hamsun novel most frequently adapted, while Henning Carlsen's 1966 pan-Scandinavian version of Hunger is arguably the artistic highpoint to date. Nations producing or co-producing Hamsun films include Norway, Sweden, Denmark, Germany, France, the Netherlands, Russia, the United States, and Canada (Guy Maddin's 1997 Twilight of the Ice Nymphs). Hamsun at the movies has shown remarkable elasticity, crossing multiple borders, and being appropriated by disparate national cinemas for surprisingly diverse ends.

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Roland, Anthony M. "Multiple sound picture projection cinema." Journal of the Acoustical Society of America 79, no. 5 (May 1986): 1648. http://dx.doi.org/10.1121/1.393227.

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36

Sokoloff, Naomi. "Cinema Studies/Jewish Studies, 2011–2013." AJS Review 38, no. 1 (April 2014): 143–60. http://dx.doi.org/10.1017/s0364009414000075.

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In an era of massive university budget cuts and pervasive malaise regarding the future of the humanities, cinema and media studies continue to be a growth industry. Many academic fields have been paying increasing attention to film, in terms of both curriculum development and research. Jewish studies is no exception. Since 2011, a boom in publications has included a range of new books that deal with Jews on screen, Jewish themes in cinema, and the construction of Jewish identity through film. To assess what these recent titles contribute to Jewish cinema studies, though, requires assessing the parameters of the field—and that is no easy task. The definition of what belongs is as elastic as the boundaries of Jewish identity and as perplexing as the perennial question, who is a Jew? Consequently, the field is wildly expansive, potentially encompassing the many geographical locales where films on Jewish topics have been produced as well as the multiple languages and cinematic traditions within which such films have emerged. At issue are not just numerous national cinemas, but also transnational productions and international histories. Yiddish film, for instance, was produced in Poland, the Soviet Union, the US, Argentina, and other places as well. Compounding the challenge of assessing the field of Jewish film is the fact that Jewish studies overlaps with Holocaust studies, itself a vast enterprise that has grown dramatically over the past two decades. A simple WorldCat search, restricted to scholarly books from respectable academic presses, turns up dozens of titles on cinema and the Holocaust published since the year 2000. Not surprisingly, the long-standing debates on “what is Jewish literature?” have morphed into controversy over “what is Jewish cinema”?

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Kessler, Frank. "The Multiple Dispositifs of (Early) Cinema." Cinémas: Revue d'études cinématographiques 29, no. 1 (2018): 51. http://dx.doi.org/10.7202/1071098ar.

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Hamid, Zebunnisa. "Behind the Scenes: The Women Filmmakers of New Pakistani Cinema." BioScope: South Asian Screen Studies 11, no. 1 (June 2020): 15–26. http://dx.doi.org/10.1177/0974927620942316.

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In order to locate and contextualise the space women filmmakers occupy in what I refer to as New Pakistani Cinema (NPC), this article highlights the eight women directors of NPC, whose films were released between 2013 and 2018: Afia Nathaniel, Iram Parveen Bilal, Meenu Gaur, Mehreen Jabbar, Momina Duraid, Sabiha Sumar, Sharmeen Obaid-Chinoy and Shazia Ali Khan. In doing so, this article also touches upon women working behind the scenes as producers and writers (often in multiple roles on the same film as director, producer and/or writer) to illustrate how women filmmakers have played a key role in establishing NPC in its early years. Starting with initial releases in 2013, NPC functions within a complex terrain, informed in part by new industry players, the crossing of borders in the production of films, the role of foreign content in Pakistani cinemas and an engagement with regional and global themes situated within a local context. Therefore, NPC and the evolving cinema culture that surrounds it demand unique and innovative forms and avenues of production, distribution and exhibition, along with distinct emerging imaginaries that are an amalgamation of the local, national, regional and global. It is within the temporal and spatial intersections of these different processes that we can begin to situate these women filmmakers.

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Lord, P. W., J. N. Selley, and T. K. Attwood. "CINEMA-MX: a modular multiple alignment editor." Bioinformatics 18, no. 10 (October 1, 2002): 1402–3. http://dx.doi.org/10.1093/bioinformatics/18.10.1402.

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40

Trifonova, Temenuga. "Multiple personality and the discourse of the multiple in Hollywood cinema." European Journal of American Culture 29, no. 2 (July 1, 2010): 145–71. http://dx.doi.org/10.1386/ejac.29.2.145_1.

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Rosen, Alan, and Garry Walter. "Way Out of Tune: Lessons from Shine and Its Exposé." Australian & New Zealand Journal of Psychiatry 34, no. 2 (April 2000): 237–44. http://dx.doi.org/10.1080/j.1440-1614.2000.00644.x.

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Objective: The depiction of David Helfgott's life presented in the movie Shine is at odds with other public accounts, notably one by his sister, Margaret. These significant discrepancies have sparked a prolonged media debate and provide the opportunity to examine cinema's apparent ground rules governing depictions of psychiatry in film, the media values and pressures which are claimed to limit the scope of these portrayals, and the implications for psychiatry. Method: Information was obtained from a number of sources, including Shine, books about the movie and Shine film paraphernalia, other films about mental illness, the psychiatric papers on cinema, media images of mental illness and media values, and through discussions with fellow mental health professionals, consumers, carers and media specialists. Results: David Helfgott emerges as an undoubtedly remarkable and resilient individual, who, together with his family, was vulnerable to, and may have experienced, exploitation and violation through the cinema. Conclusions: Filmmakers should reconcile media values and constraints with considerations of ethics and public accountability. Marrying these considerations is both possible and compatible with good filmmaking and audience appeal. There is the potential for a story about those who have mental illness to be told from multiple points of view without compromising dramatic power.

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42

Cerisuelo, Marc. "Remake secret et univers multiples." Cinémas 25, no. 2-3 (March 23, 2016): 119–37. http://dx.doi.org/10.7202/1035775ar.

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Deux ouvrages récents, l’un de Pierre Bayard (Il existe d’autres mondes, 2013) et l’autre d’Alain Boillat (Cinéma, machine à mondes, 2014), ont contribué à une meilleure connaissance de la problématique de la pluralité des univers en littérature et au cinéma. Cet article présente les thèses de ces deux auteurs en les reliant aux « fictions de l’amour perdu dans le temps » et développe l’articulation d’un passage consacré à Je t’aime je t’aime (Alain Resnais, 1968) et à Eternal Sunshine of the Spotless Mind (Du soleil plein la tête, Michel Gondry, 2004) dans le livre d’Alain Boillat avec la question du remake et, plus largement, avec celle de l’histoire du cinéma comme champ de réécritures multiples, sous l’espèce de la négociation générique, mais aussi de la généalogie secrète entre les répliques d’un même ébranlement fondateur : ici, celui de Vertigo (Sueurs froides, Alfred Hitchcock, 1958).

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Geraldi Yuda Pradipta, Yohanes. "Dampak Brand Image dan Customer Experience terhadap Customer Satisfaction (Studi Pada Penonton Bioskop XXI di Surabaya)." Jurnal Ilmu Manajemen 8, no. 3 (July 19, 2020): 1050. http://dx.doi.org/10.26740/jim.v8n3.p1050-1059.

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The pressures from such high activity will cause tension, fatigue, fatigue, and stress. Currently, the cinema industry has a promising market, shown by people who have high enthusiasm to watch in the cinema. The impact of brand image and consumer experience on cinema consumer satisfaction is an interesting topic to study. This research was intended to investigate and analyze the influence of brand image and customer experience with the satisfaction of cinema viewers in XXI Surabaya. The purposive sampling method was used through the judgmental sampling method for 50 samples. The hypothesis is tested through multiple linear regression analysis. The results of the first tested hypothesis were found that the brand image variable positively and significantly affected the satisfaction of XXI cinema viewers. The results of the second hypothesis test show that the customer experience variable has a positive and significant effect on customer satisfaction watching at the XXI cinema.

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44

Fong, Siao Yuong, and How Wee Ng. "Unpacking the ‘Singapore New Wave’." Asian Cinema 31, no. 1 (April 1, 2020): 3–15. http://dx.doi.org/10.1386/ac_00010_2.

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As the cinema of a small nation, Singapore cinema punches above its weight. The series of international film festival awards won by Singaporean filmmakers alongside the multiple books published on Singapore cinema since the 2010s seem to signal a revival of the industry. This editorial introduction unpacks the term ‘Singapore New Wave’ as a starting point for this Special Issue to raise questions about the changes that appear to be happening in Singapore’s film industry. By situating the ‘Singapore New Wave’ within global cinema, this article argues for the importance of considering the issue of survival in the cinema of a small nation, and for an expansion of ways in which film scholars can gain the critical insights traditionally obtained from conventional new wave films. More positively, this more expansive working definition adds to broader new wave literature by exploring unconventional ways in which films can constitute or contribute to a new wave beyond traditional genres, auteurs, styles or themes associated with new wave cinema.

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Parry-Smith, D. J., A. W. R. Payne, A. D. Michie, and T. K. Attwood. "CINEMA—a novel Colour INteractive Editor for Multiple Alignments." Gene 221, no. 1 (October 1998): GC57—GC63. http://dx.doi.org/10.1016/s0378-1119(97)00650-1.

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Dunatov, Dario, Marija Lončar, and Zorana Šiljug Vučica. "Problems and Perspectives of Croatian Cinema." Medijska istraživanja 25, no. 1 (July 12, 2019): 107–24. http://dx.doi.org/10.22572/mi.25.1.5.

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Contemporary social trends such as globalization and technological develop- ment affect national cinema as well as world cinema in general. Discussions about national cinema should therefore be placed within the context of the nation-state itself and transnationally. The continuity of fi lm industry in Croatia exists from the very beginnings of the fi lm, but it as a product of the cinema that is closely related to social, political and economic circumstances which had multiple implications on its development. The aim of the paper was to examine the features of Croatian national cinema as well as the aspects of its affi rmation and reception, which ultimately enabled understanding of the developmental and integrative factors of Croatian cinema. Insight into the developmental and integrative factors of Croatian cinema presents a wider picture of the problems and perspectives of Croatian national cinema today. The qualitative approach was used in the research and semistructured interviews were conducted with interviewees closely related to film and film production. The analysis shows diffi culties in developing a specifi c style and achieving greater international visibility. An important moment was the establishment of Croatian Audiovisual Centre which devised a plan for Croatian national cinema and brought fi nancial independence. This consequently led to the rise of investments and quality of fi lms and even to international festival visibility of Croatian cinema. At the beginning of the 21st century Croatian fi lm industry developed infrastructure, provided support for young fi lmmakers and created the preconditions for quality and innovative fi lm titles.

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Smith, Douglas. "Reading The Robe: Bazin and Widescreen." Paragraph 36, no. 1 (March 2013): 86–100. http://dx.doi.org/10.3366/para.2013.0079.

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This article examines Bazin's theory of cinema through his reaction to widescreen technology. Bazin endorsed CinemaScope as a means of enhancing cinematic realism, but was critical of its launch vehicle, Henry Koster's The Robe (1953), which recounts the story of a Roman consul whose acquisition of the dead Christ's robe leads him to convert to Christianity. To emphasize the photographic trace of the real that defines his ontology of cinema, Bazin refers to relics alleged to retain the outline of Christ's features after contact (the Veil of Veronica, the Turin Shroud), so The Robe inadvertently offers a crass thematization of Bazin's theory of cinema, uncomfortably mimicking Bazin's belief that film carries the imprint of a once-living presence. However, on closer inspection, instead of demystifying Bazin's theory of cinema by removing its religious garb, the critical encounter with The Robe demonstrates its complexity by revealing its multiple layers.

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Fikse, Per, and Thor-Eirik Johnsen. "Lost in limbo: On multiple levels of reality in cinema." Short Film Studies 2, no. 2 (February 18, 2012): 253–56. http://dx.doi.org/10.1386/sfs.2.2.253_1.

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Ardiyan, Ardiyan, Ardiyansah Ardiyansah, and Satrya Mahardhika. "Mograph Cinema 4d untuk Menunjang Efek Visual Video Klip." Humaniora 1, no. 2 (October 31, 2010): 721. http://dx.doi.org/10.21512/humaniora.v1i2.2913.

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This research is to talk about the advantages of MoGraph as one reliability feature in 3D modeling application, 4D Cinema as the implemented example in Cinta Laura video clip. The advantage in MoGraph is the ability to create multiple object moving effect accordingly and (or) randomly easily and efficiently, also supported by the render quality of Cinema 4D that clean and relatively fast. The advantage made MoGraph Cinema 4D is suitable to use to enrich the visual effect a motion graphic work. The quality is hoped to support MoGraph usage as more creative. Regarding today’s visual variation is effected by the digital technology development, therefore the implementation of MoGraph Conema 4D is hoped to be optimally supporting creativity in making video clip in motion graphic art content.

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50

Merchán, José M., M. Cruz Alvarado, Susana De Andrés, and Agustín García-Matilla. "Cine para la Educación. Aprender de seis décadas de buenas experiencias educomunicativas." Media Education 12, no. 1 (May 3, 2021): 93–100. http://dx.doi.org/10.36253/me-10142.

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The Lumiere brothers, inventors of the cinematograph, did not think that it could be more interesting than a mere fairground attraction. However, at the beginning of the 20th century, the cinema was considered a medium of immense educational potential and it has been analyzed from multiple perspectives for its cultural value. Not only was George Meliés the first director to believe in the potential of cinema, simultaneously with the director Alice Guy, fictional cinema also began. Directors and theorists such as Griffith or Eisenstein, Riccioto Canudo, Henry Agel, Guido Aristarco, or André Bazin demonstrated the importance of the language of cinema from a practical perspective. The main objective here is to collect some of the most significant experiences in film pedagogy in the Spanish context, and discover with them the meaning and the sense of delving into this field and its importance in the real context of the screens that nourish the digital environment multimedia and transmedia. From the first film clubs, university experiences, pedagogical associations/groups, and the creation of educational centers, to audiovisual literacy actions for groups at risk of exclusion. As an example of the educational potential of cinema in isolation contexts, we will outline a recent case of its application in penitentiary institutions.

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