Titlebook: Screening the World; Global Development o Stuart Hanson Book 2019 The Editor(s) (if applicable) and The Author(s) 2019 film.exhibition.Unit

披肩

有特色

From Multiplex to Megaplexes in exhibition. Hanson sets these developments firstly in the context of the rise in the number of cinema admissions throughout the 1990s to peak in 2002; and secondly in the context of a decline from then on as steaming services such as Netflix and the decline in the shopping?mall challenge the place of cinema.

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Dappled

The Multiplex in Belgium, the Netherlands, and Scandinaviaenetration of US exhibitors was marginal or non-existent—Belgium, Norway, and Sweden. Hanson also details the emergence of a series of domestic multiplex exhibitors such as Kinepolis, Pathé, Sandrews, Metronome, Svensk Filmindustri, Nordisk Film, and the Nordic Cinema Group.

為現(xiàn)場(chǎng)

The Multiplex in Germany and Francey; and secondly, France, in which the penetration of US exhibitors was, with the exception of one site, non-existent. Chapter . also considers the exhibition landscape historically in these two countries, both of which were some way behind countries like Belgium, Sweden, and Britain in their adoption of the multiplex.

巧辦法

The Multiplex in Japan, South Korea, and China entrants, though all have exited the market subsequently, leaving it to domestic exhibitors. Finally, China is both the fastest growing film market in the world and one of the most complex to do business in and with.

Rotator-Cuff

秘密會(huì)議

Conclusion: The Multiplex as a?Global Formelationship to new kinds of retailing and leisure, centred on the shopping mall. Finally, Hanson argues that whilst challenged by new streaming services, the multiplex offers the possibility of the resilience of cinema as an important form of film consumption.

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