Bibliografie tematiche / Motion picture theaters – Employees

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Letteratura scientifica selezionata sul tema "Motion picture theaters – Employees"

Autore: Grafiati

Pubblicato: 26 luglio 2024

Ultima modifica: 19 luglio 2025

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Articoli di riviste sul tema "Motion picture theaters – Employees"

Sterling, Christopher H. "1. CBQ Review Essay: Motion Picture Theaters." Communication Booknotes Quarterly 44, no. 4 (2013): 145–58. http://dx.doi.org/10.1080/10948007.2013.836834.

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Holman, Tomlinson. "Room acoustics for THX® motion‐picture theaters." Journal of the Acoustical Society of America 85, S1 (1989): S15. http://dx.doi.org/10.1121/1.2026837.

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Stamm, Michael. "Watching News in Public: The Rituals and Responses of Newsreel Theater Audiences." JCMS: Journal of Cinema and Media Studies 63, no. 2 (2024): 96–118. http://dx.doi.org/10.1353/cj.2024.a919193.

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abstract: From roughly 1930 to 1950, newsreel theaters played important roles in urban and film cultures. These small (200- to 600-seat) theaters showed hour-long loops of news that patrons could drop into from morning to midnight. Some aspects of the newsreel theater experience extended the rituals of nickelodeon spectatorship of earlier decades, and others predated the post–World War II development of television news consumption. Newsreel theaters allowed patrons to pass the time watching motion picture news, and they became politically charged spaces offering ways for people to watch and re

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May, Richard P. "The Theaters at the Academy of Motion Picture Arts and Sciences." SMPTE Motion Imaging Journal 113, no. 12 (2004): 425–29. http://dx.doi.org/10.5594/j16248.

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Hennig-Thurau, Thorsten, Victor Henning, Henrik Sattler, Felix Eggers, and Mark B. Houston. "The Last Picture Show? Timing and Order of Movie Distribution Channels." Journal of Marketing 71, no. 4 (2007): 63–83. http://dx.doi.org/10.1509/jmkg.71.4.063.

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Movies and other media goods are traditionally distributed across distinct sequential channels (e.g., theaters, home video, video on demand). The optimality of the currently employed timing and order of channel openings has become a matter of contentious debate among both industry experts and marketing scholars. In this article, the authors present a model of revenue generation across four sequential distribution channels, combining choice-based conjoint data with other information. Drawing on stratified random samples for three major markets—namely, the United States, Japan, and Germany—and a

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Kim, Sun Ju. "Nationalizing Film Business and the Transformation of the Sphere of Cinema Consumption: Keijō as a Showcase." Institute of History and Culture Hankuk University of Foreign Studies 86 (May 31, 2023): 245–77. http://dx.doi.org/10.18347/hufshis.2023.86.245.

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One of the transformative factors that has re-directed the realm of the cinema in colonial Korea was the move toward the nationalizing of film business that was taken in imperial Japan in the early 1930s. To mention it briefly, it was intended to protect and develop film business as a state industry. Following imperial Japan’s steps immediately, the Government-General of Korea (GGK) has promulgated a new film policy named ‘Motion Picture and Film Regulation Rule’ (No.82 ordained by the Government-General) in August 1934 and implemented the policy of ‘screen quota.’ This paper aims to examine t

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Ma, Fang, Ju Zhang, Lev Tankelevitch, et al. "Nods of Agreement: Webcam-Driven Avatars Improve Meeting Outcomes and Avatar Satisfaction Over Audio-Driven or Static Avatars in All-Avatar Work Videoconferencing." Proceedings of the ACM on Human-Computer Interaction 9, no. 2 (2025): 1–28. https://doi.org/10.1145/3711040.

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Avatars are edging into mainstream videoconferencing, but evaluation of how avatar animation modalities contribute to work meeting outcomes has been limited. We report a within-group videoconferencing experiment in which 68 employees of a global technology company, in 16 groups, used the same stylized avatars in three modalities (static picture, audio-animation, and webcam-animation) to complete collaborative decision-making tasks. Quantitatively, for meeting outcomes, webcam-animated avatars improved meeting effectiveness over the picture modality and were also reported to be more comfortable

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Kotollaku, Mimoza, and Lenida Lekli. "English Language, An Interactive Communication Tool Among Tourism Sector Employees and Foreign Tourists." British Journal of Multidisciplinary and Advanced Studies 5, no. 3 (2024): 79–89. http://dx.doi.org/10.37745/bjmas.2022.04107.

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Tourism is a very important sector in Albania's economy. With the promotion of tourist attractions, the number of foreign tourists has increased significantly. Language is of great importance for the communication of foreign tourists to tourist destinations. Today English is an international language and most tourist businesses require employees to speak English except the local language of the country. In this paper we will present a theoretical discussion on the importance and necessity of the English language in the development of the tourism sector from the point of view of tourist service

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Aziz al-Quraishi, Zuhair Abbas, and Shaker Nima Harz Alaak. "The role of television in activating the behavior of recreational tourists in the city of Baghdad." Iraqi Administrative Sciences Journal 1, no. 1 (2017): 246–84. http://dx.doi.org/10.33013/iqasj.v1n1y2017.pp246-284.

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TV is considered the strongest media in comparison with other means, therefore, its effects were and are still the strongest in human and his social, economic, purchasing and tourist behaviors. Studies emphasized the importance of TV and its distinct from other traditional media, in that it can mix between the picture, voice and motion in a more perfected way through color, shape and motion as well as it made the audience watch what is going on in the world directly. It also employed the rest of traditional communication means for its interest, in that it became a new means for information, re

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Armashova-Telnik, G. S., and T. A. Bobovich. "Key areas of staffing at the enterprises of the North-West region." Proceedings of the Voronezh State University of Engineering Technologies 83, no. 4 (2022): 375–81. http://dx.doi.org/10.20914/2310-1202-2021-4-375-381.

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The human capital of an enterprise is the main resource of every organization, the quality and efficiency of which largely depend on the results of the company's activities and its competitiveness. Labor resources set in motion the material elements of production, create a product, value and surplus product in the form of profit. By investing in staff and creating comfortable conditions for the professional growth of employees, a business entity can count on a greater profit than investing only in solving production tasks. Which is consistent with the objectives of the Regional Staffing Standa

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Tesi sul tema "Motion picture theaters – Employees"

Ng, Siu-hong Ryan. "Film Complex : Resuscitation of film in commercial society /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25946821.

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O'Skea, Sean. "Indiana encore : history and preservation of eastern Indiana's historic theaters." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1133729.

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Hemingway, Simon Peter. "Hierophanies and heterotopias : magic, moving picture theaters and churches, 1907-1922 /." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008349.

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Swami, Sanjeev. "Dynamic marketing decisions in the presence of perishable demand." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ34631.pdf.

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Yan, Kwan-shing. "Management science : quenes in cinemas /." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18024646.

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吳兆康 and Siu-hong Ryan Ng. "Film Complex: resuscitation of film in commercial society." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31984770.

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Chow, Hon-bong Stephen. "Clineplex : city and its cinematic experience /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25950149.

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Zeh, Carola. "Lichtspieltheater in Sachsen : Entwicklung, Dokumentation und Bestandsanalyse /." Thesis, Hamburg : Kovač, 2007. http://d-nb.info/985900407/04.

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Lau, Lik-wing Raymond. "A Cinema(tic City)walk." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25947850.

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Cork, Kevin James. "Twenty-four miles around Nelungaloo : the history and importance of cinema exhibition in pre-television times to a country area of central-western New South Wales /." View thesis, 1994. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030916.125146/index.html.

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Più fonti

Libri sul tema "Motion picture theaters – Employees"

Hidy, Péter. A lokális döntések természetéről. Művelődéskutató Intézet, 1986.

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B, Vörös Gizella, ed. Állami áruház: Egy téma több arca. Művelődéskutató Intézet, 1986.

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Gillies, Michael T. The Regent: Brisbane's motion picture cathedral. CopyRight Publishing, 2014.

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Tanno, Tatsuya. Tokyo ii koya mitai koya: Kankyaku no mirai no tameni. Kinohanasha, 1999.

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Network, Entertainment Employment, ed. Motion picture job descriptions. Entertainment Employment Network, 1991.

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Toucón, Álvaro Sanjurjo. Los programas hablan. Ediciones del Cuartito, 2015.

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Santamaría, José Vicente García. La exhibición cinematográfica en España: Cincuenta años de cambios. Cátedra, 2015.

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Ashcroft, Lionel. Movie studios & movie theaters in Marin: A history since 1888. Marin County Historical Society, 1998.

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Press, Preservation, ed. Great American movie theaters. Preservation Press, 1987.

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author, Qiao Ran, ed. Fu shi meng ying: Shanghai ju chang wang shi. Wen hui chu ban she, 2015.

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Capitoli di libri sul tema "Motion picture theaters – Employees"

Melnick, Ross. "An Army of Theaters." In Cinema's Military Industrial Complex. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520291508.003.0005.

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This chapter, by Ross Melnick, examines the history of the Army Motion Picture Service (AMPS) and the intricate relationship between the U.S. Army and motion picture exhibition during both war and peacetime. Focusing on the industrial, logistical, and economic formation of AMPS, this chapter focuses on three key periods in the history of U.S. Army film exhibition. It argues that AMPS’s early status as independent of Army Morale, Welfare, and Recreation created unique challenges that hindered its early growth on U.S. Army bases and ultimately led to its withering amid the coming of digital projection and other contemporary challenges.

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Lee, Sangjoon. "The Rise and Demise of a Developmental State Studio." In Cinema and the Cultural Cold War. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501752315.003.0007.

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This chapter introduces five motion picture studios that stood out in Asia at the beginning of the 1960s, such as Shin Films in South Korea, GMP and CMPC in Taiwan, and Shaw Brothers and MP&GI in Hong Kong and Singapore. It examines how film studios in the region aspired to implement the rationalized and industrialized system of mass-producing motion pictures known as the Hollywood studio system. It also explains that the Hollywood studio system evolved in the United States to handle film production, distribution, and exhibition during the first three decades of the twentieth century. The chapter recounts how the studio system became a highly efficient system that produced feature films, newsreels, animations, and shorts to supply its mass-produced motion pictures to subsidized theaters. It describes Fordism as the famous American system of mass production with particular American circumstances.

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Decherney, Peter. "1. Before Hollywood." In Hollywood: A Very Short Introduction. Oxford University Press, 2015. http://dx.doi.org/10.1093/actrade/9780199943548.003.0002.

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‘Before Hollywood’ describes how early film technology and storytelling methods developed out of older media. It begins with Thomas Edison’s Vitascope and the first dedicated movie theaters—nickelodeons—which began to appear around 1903. Around 1908–9, filmmaking and the film industry underwent a number of changes: established film companies started to court a middle-class audience in order to expand the industry’s reach; production companies made films based on novels and Broadway plays; and stories began to be told in new ways. The creation of the trust, Motion Picture Patents Company, in 1908 and the rise of independents saw a restructuring of the American film industry.

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Melnick, Ross. "5. An Army of Theaters: Military, Technological, and Industrial Change in US Army Motion-Picture Exhibition." In Cinema's Military Industrial Complex. University of California Press, 2019. http://dx.doi.org/10.1515/9780520965263-007.

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Melnick, Ross. "A Prologue to Hollywood." In The Oxford Handbook of Silent Cinema. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780190496692.013.29.

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Abstract This chapter examines Sidney Patrick Grauman’s role in developing film prologues and premieres that helped redirect the focus of the film industry westward via a combination of motion-picture marketing and exhibition and real estate investment and promotion. Grauman, through his real estate development projects, redefined the cityscape of Los Angeles in the 1910s and then, during the 1920s, the growing urbanity of Hollywood. Grauman’s use of stars, publicity, and premieres to sell his real estate, theatrical, and other ventures is part of a larger story about his role in Hollywood’s evolution. Examining Grauman’s additional connections with local developers, financiers, hotels, banks, and industry organizations provides a window into the small number of key players in Hollywood’s early maturation and how Grauman’s Egyptian and Chinese theaters, the Hollywood Roosevelt Hotel, and other local entities became essential parts of Hollywood’s growth as an iconic place for global commerce, entertainment, and tourism.

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Koegel, John. "Mexican Musical Theater and Movie Palaces in Downtown Los Angeles before 1950." In Tide Was Always High. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520294394.003.0002.

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The Plaza was the first site of Spanish colonial civilian settlement in 1781, it was also the first entertainment district in Los Angeles. From the mid-nineteenth century through the 1950s, Plaza district buildings housed immigrant-oriented businesses, churches, restaurants and cafes, grocery stores, social clubs, billiard halls, saloons, music stores, dance halls, rooming houses, phonograph parlors, penny arcades, nickelodeons and ten-cent motion picture houses, and vaudeville theaters. The development of the Plaza area over time mirrors the transition of Los Angeles from a small Spanish and Mexican pueblo to an American frontier city, and ultimately to one of the world's major cities and metropolitan areas. This chapter explores how musical theater directly relates to physical location, civic identity, immigration, and ethnicity. A recurring process of cultural conflict, maintenance, and accommodation played out over time on stage in Los Angeles's Latino theatrical world. Music and theater served as conduits for communal self-expression, as powerful symbols of Mexican identity, and as signs of tradition and modernity.

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Billheimer, John. "The Decline of the Code." In Hitchcock and the Censors. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813177427.003.0039.

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This chapter describes the decline of the Production Code and its replacement by the current rating system. Two Supreme Court rulings contributed to the end of the Production Code. In 1948, the court ruled that the major motion picture companies could no longer control the theaters in their distribution system, making it possible for independently produced and foreign films without a Code Seal to obtain first-run screenings. And in 1952 the court overturned the ban on Roberto Rossellini’s The Miracle and ruled that motion pictures were entitled to the guarantees of free speech and free press. The liberalization of public attitudes in the post-Code years, the influx of more explicit foreign films, and the impact of TV on box-office receipts all contributed to the decline of the Code, as did several groundbreaking movies. In 1953, Otto Preminger’s ‘racy’ comedy (by 1953 standards), The Moon Is Blue, became one of the first major US movies to be released without a Code Seal. In 1964, Sidney Lumet’s The Pawnbroker successfully challenged the Code ban on nudity, and in 1966, Mike Nichols’s Who’s Afraid of Virginia Woolf? broke the taboo on vulgar language. In 1966, Jack Valenti became head of the MPAA and soon replaced the Production Code with the precursor of today’s rating system.

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"Public Sphere as Petri Dish; or, “Special Case Studies of Motion Picture Theaters which are Known or Suspected to be Foci of Moral Infection”." In Cinematic Prophylaxis. Duke University Press, 2005. http://dx.doi.org/10.1215/9780822387381-002.

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Regev, Ronny. "Bargaining." In Working in Hollywood. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469636504.003.0007.

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The sixth chapter recounts the history of Hollywood collective bargaining. On a day-to-day basis, the American motion picture industry relied on its ability to balance a modern, rationalized production operation with a more unstructured creative process. However, in times of crisis, when the harmony was interrupted, the creative element was often surrendered. During the 1930s, the presidency of FDR, his New Deal policies, and the empowerment of organized labor throughout the U.S. had a significant influence on Hollywood. The chapter focuses on the rise of the Screen Writers Guild, the Screen Actors Guild, and the Screen Directors Guild, their struggles, the way they chose to pursue them, and the attitude embraced towards them by studio management. However, as is shown, while they borrowed tactics from industrial unions and appealed to the National Labor Relations Board, Hollywood creative employees aligned with traditional industrial labor causes only as long as it served their immediate goals.

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"1 Public Sphere as Petri Dish; or, ‘‘Special Case Studies of Motion Picture Theaters which are Known or Suspected to be Foci of Moral Infection’’." In Cinematic Prophylaxis. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822387381-004.

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