Bibliographies thématiques / Motion picture theaters – Employees

Littérature scientifique sur le sujet « Motion picture theaters – Employees »

Auteur : Grafiati

Publié le 26 juillet 2024

Mis à jour le 26 juillet 2024

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Articles de revues sur le sujet "Motion picture theaters – Employees"

Sterling, Christopher H. « 1. CBQ Review Essay : Motion Picture Theaters ». Communication Booknotes Quarterly 44, n^o 4 (octobre 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 (mai 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, n^o 2 (janvier 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 react vocally to the news in public as members of groups.

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May, Richard P. « The Theaters at the Academy of Motion Picture Arts and Sciences ». SMPTE Motion Imaging Journal 113, n^o 12 (décembre 2004) : 425–29. http://dx.doi.org/10.5594/j16248.

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Hennig-Thurau, Thorsten, Victor Henning, Henrik Sattler, Felix Eggers et Mark B. Houston. « The Last Picture Show ? Timing and Order of Movie Distribution Channels ». Journal of Marketing 71, n^o 4 (octobre 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 total of 1770 consumers, the empirical results suggest that the studios that produce motion pictures can increase their revenues by up to 16.2% through sequential distribution chain timing and order changes when applying a common distribution model for all movies in a country and that revenue-optimizing structures differ strongly among countries. Under the conditions of the study, the authors find that the simultaneous release of movies in theaters and on rental home video generates maximum revenues for movie studios in the United States but has devastating effects on other players, such as theater chains. The authors discuss different scenarios and their implications for movie studios and other industry players, and barriers for the implementation of the revenue-maximizing distribution models are critically reflected.

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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 (31 mai 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 the ‘geopolitics’ of the screen quota because the latter was one of the crucial factors that would transform the sphere of cinema consumption in colonial Korea, especially in Keijō (colonial Seoul). In the colonial city, the showing and watching of movies have long been divided between colonized Koreans and the Japanese settlers. The move toward the nationalizing of film business, along with the opening of new theaters called ‘movie palaces,’ would reconstruct the cinema of the colonial city and help to generate the ‘contact space’ between the two peoples.

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Kotollaku, Mimoza, et Lenida Lekli. « English Language, An Interactive Communication Tool Among Tourism Sector Employees and Foreign Tourists ». British Journal of Multidisciplinary and Advanced Studies 5, n^o 3 (11 juin 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 services providers and specifically hotel businesses. To fulfill the purpose of this search, the data collection was done by a self-administered questioner with closed thematic questions, with alternatives addressed to the service employees in tourism destinations in Durres, Shëngjin and Sarandë. The overall data collection of 250 questionnaires and total of 195 questionnaires were collected. Through descriptive analysis we have taken a picture of the characteristics of the monster in study according to the data of the structured questionnaire, respectively: Part 1 (socio-demographic characteristics), Part 2 (business stuff), (location and classification), Part 3 (language knowledge and opinion on its importance for employment in tourist businesses in Albania. The data was collected in January 2023. The article aims to highlight not only the most necessary language skills for tourism sector employees but also highlight the functions of English language use by employees of this sector, the most common problems they encounter in different skills, etc. The investigation and identification of such necessities puts the help of not only the employees of this sector but also the entrepreneurs of various tourist structures who can directly contribute to the improvement of their human resources employed as the motorcycle that sets in motion and guarantees financial income to their businesses thanks to professionalism

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Aziz al-Quraishi, Zuhair Abbas, et 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, n^o 1 (30 mars 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, recreation and education, it was able to effectively impress the audience because it reaches millions of audiences at the same moment. Thus, it represents the greatest revolution in the field of human communication, The tourist's behavior represents a study on the individuals' choices, their purchasing and using goods and services to satisfy their needs and desires. Hence, the employees of the tourist activity should have a full understanding of all facts and internal and external factors affecting the tourist's behavior which is influenced by a big collection of factors, including psychological, social, personal factors which should be taken into consideration when trying to motivate or push consumers or tourists to buy .

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Armashova-Telnik, G. S., et 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, n^o 4 (17 janvier 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 Standard and ensures interdepartmental cooperation in the regions on staffing issues of the regional economy, improving the efficiency of these processes, developing human resources for the long term, attracting and retaining human resources, training and retraining of highly qualified personnel in accordance with the international standards and market requirements, allows you to monitor the effectiveness of the implementation of regional personnel policy, systematize modern management practices, mechanisms and tools for staffing. At the same time, it is necessary to have a clear and objective situational picture of the causes of the current conjuncture in the staffing sector. What causes the need to analyze the prerequisites for the directions of development, the motives for the increase in the turnover of human resources, etc. The article analyzes the main reasons for the dismissal of employees of industrial enterprises of the North-Western District, highlights the opportunities provided by the enterprise for the development of human resources.

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Christensen, Louise. « Metaphors of change ». Journal of Organizational Ethnography 6, n^o 2 (10 juillet 2017) : 116–28. http://dx.doi.org/10.1108/joe-04-2017-0019.

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Purpose The purpose of this paper is to explore how a study of a practice can lay the foundation to describe this very practice whilst transformations of it were taken place. Descriptions of changes to the practice of social work which was observed empirically serve as a starting point for experimenting with how social scientists, though often exploring transformative study objects, can remain focused on describing the object, under study. Design/methodology/approach The study was done through circa one year of fieldwork conducted with participant observation in two Danish municipal units offering services to socially marginalized people and interviews with social workers and employees in drug/alcohol treatment and psychiatric units. Findings The object of study within social sciences, though changing, is able to be described. Through the theories of “Social Navigation” (Vigh) and “Strategy and Tactics” (de Certeau), the practice of social work can be described as one concrete bounded practice but one which is performed within a transformative/changeable environment that are capable of influencing it. In this case, the experience of a changeable seascape might serve as a metaphor for how study objects change within an environment of change; how they can be viewed as “motion within motion” (Vigh). Originality/value Even though fields such as anthropology and organizational studies seem to rid themselves from their objects of study (culture and organization, respectively) and dissociate themselves from descriptions thereof these objects might still be of value to us. Even though the objects of study in postmodern anthropology and organizational studies are defined as unbounded, anti-essential, ephemeral, ever-changing non-objects, this might not be the entire picture. Despite their ever-changing shape, we might still be able to study and describe them if we take their changeable form and environment into account.

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Thèses sur le sujet "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 et 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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Livres sur le sujet "Motion picture theaters – Employees"

Nag-wŏn, Song, dir. Hanʼguk yŏnghwa kisul ŭi yŏksa, 1980-2008-yŏn. 8^e éd. Taehan Minʼguk, Sŏul : Kʻŏmyunikʻeisyŏn Buksŭ, 2008.

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McAlpin, Gordon. Multiplex : Enjoy your show. Chicago : Chase Sequence, 2010.

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Maryland's motion picture theaters. Charleston, SC : Arcadia Pub., 2008.

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Douglas, Anne. Starlight. Sutton : Severn House Large Print, 2011.

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

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B, Vörös Gizella, dir. Állami áruház : Egy téma több arca. [Budapest] : Művelődéskutató Intézet, 1986.

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

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Thornton, Maurice. The eveylasting picture show. Clevedon : Curzon-Clevedon Community Centre, 2005.

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Naylor, David. Great American movie theaters. Washington, D.C : Preservation Press, 1987.

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Naylor, David. American picture palaces : The architecture of fantasy. New York : Prentice Hall Editions, 1991.

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Chapitres de livres sur le sujet "Motion picture theaters – Employees"

Melnick, Ross. « An Army of Theaters ». Dans 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 ». Dans Cinema and the Cultural Cold War, 137–70. 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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Melnick, Ross. « 5. An Army of Theaters : Military, Technological, and Industrial Change in US Army Motion-Picture Exhibition ». Dans Cinema's Military Industrial Complex, 75–92. University of California Press, 2019. http://dx.doi.org/10.1515/9780520965263-007.

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Decherney, Peter. « 1. Before Hollywood ». Dans Hollywood : A Very Short Introduction, 5–18. 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. « A Prologue to Hollywood ». Dans The Oxford Handbook of Silent Cinema, 440–59. 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 ». Dans 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 ». Dans Hitchcock and the Censors, 291–94. 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” ». Dans Cinematic Prophylaxis, 18–46. Duke University Press, 2005. http://dx.doi.org/10.1215/9780822387381-002.

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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’’ ». Dans Cinematic Prophylaxis, 18–46. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822387381-004.

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Regev, Ronny. « Bargaining ». Dans Working in Hollywood, 165–94. 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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