Economics of multiplexes in India : A study of the PVR group(2009-11) The revenue generation techniques of the cinema halls have been one of the least explored areas of the communication studies. This essay is an attempt to look at the revenue generation strategies of the PVR Group‚ specifically‚ two halls‚ PVR Plaza and PVR Rivoli‚ located at Connaught Place‚ New Delhi. The financial year 2008-09‚ that is in focus here for the purpose of study‚ was marked as a particularly slow year for the Indian
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Hollywood is the most popular form of cinema and filmmaking; it is the first one that comes to mind when people think of cinema today. But‚ the world is not limited to just the American and Hollywood perspective as other countries make their own films even compete against the familiar style. Transnational films break through both ‘national’ and ‘international’ forms and can be taken on a global and local scale. Though‚ it does not limit media to one country‚ but works across many national cultures
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They started making action movies‚ movies on cult‚ horror and sexicomedias too were produced. 1990’s is said to be the Era of the Nueva Cinema Mexicano‚ or New Mexican Cinema. With the success of a number of award winning movies internationally‚ a ‘new wave’ or ‘renaissance’ is said to buzz in the Mexican Film Industry this era. By the 20th century Mexican directors have made absolutely implausible movies
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Anthony Wilson 11/10/2014 Italian Neorealism As cultures progress‚ cinema will always revive its past‚ mirror its present‚ and predict its future. Throughout history‚ cultures have inspired new waves of film. Filmmaking has reflected cultural decades of every era. Whether through non-fiction or fiction‚ films still establish the principle of human psyche. From America’s popular westerns in the 1920s to Italy’s neorealist films in the ‘40s-‘50s‚ films have been created to emulate the conditions
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People are now recognising the fact that popular culture is also a form of art. It is also the re-packaging that helps giving it a different view that attracts attention." The USP of pop art is how it is translated as well as the associated memory. Cinema If we
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Paper on: Eternal Sunshine of the Spotless Mind Mr. Gordon Jesse Jonathon 12/3/2012 1) Neorealism was a movement in film production that emerged out of the second World War in Italy. The defeat of Italian fascism led to the crushing of the Italian film industry. Before the war‚ Italy had produced commercial studio fare. Economic decline post-war and the occupation by American forces did not allow for the continuation of the production of commercial studio fare. The
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Introduction France can be credited as the home to the film industry. French film directors can be said to have invented the whole concept of cinema. For instance‚ as early as 1895‚ Lumiere brothers produced a 50 seconds film titled The Arrival of a Train at La Ciotat Station and this led to pundits to name it as the first bold step in the cinema industry. They continued in their production until the First World War where they shifted focus to producing documentaries films and newsreel. However
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Journal of Chinese Cinemas Volume 3 Number 2 © 2009 Intellect Ltd Article. English language. doi: 10.1386/jcc.3.2.163/1 Made in China‚ sold in the United States‚ and vice versa - transnational ’Chinese’ cinema between media capitals Yiman Wang University of California‚Santa Cruz Abstract This articleconsiders the reconfigurationof ’Chinese’ cinema in the international media capitals. By analysing the US marketing of Wong Kar Wai’s Chungking Express and Zhang Yimou’s Hero‚ both mediated
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SANJEEV MATHUR This is your Tickets purchased on 16 May 2012 Movie Name : AVENGERS (E)‚ THE Show Date & Time : Thu 17 May 2012 10:10 AM Cinema : Spice Cinemas: Noida Confirmation No / Transaction ID : 8467493 Name On Card SANJEEV MATHUR Payment Type Credit Card TREAT YOUR SMARTicket LIKE CASH For any further Ticket details contact helpdesk@bookmyshow.com or Call 3989 5050 SEAT INFO. Movie Name AVENGERS (E)‚ THE (U/A) Booking ID 4346700 Thu 17 May
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statement ‘European cinema is not a monolith‚ but a series of expressions of different ways of questioning and portraying itself and the world’ (Everett‚ 5) demonstrates that the whole European cinema can hardly be defined since not only the gap between Central Europe and Western Europe but also the notable national identities create various form of aesthetic elements in cinema movement which reflects political‚ cultural and social circumstance of each nation. Thus‚ European cinema can be regarded
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