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Autor: Grafiati

Data publikacji: 26 lipca 2024

Data aktualizacji: 26 lipca 2024

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1

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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2

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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3

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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4

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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6

吳兆康 i 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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7

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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8

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

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9

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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10

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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11

Gunckel, Colin. ""A theater worthy of our race" the exhibition and reception of Spanish language film in Los Angeles, 1911-1942 /". Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1997008061&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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12

Overpeck, Deron. "Out of the dark American film exhibition : political action and industrial change, 1966-1986 /". Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1459904671&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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13

Kung, Sze-chung Charles. "Cinema park". Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25956206.

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14

Curtis, Emily A. "Movies under the stars : a history and inventory of drive-in theaters in the Indianapolis area". Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1041913.

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The drive-in theater was a phenomenon unique and prosperous in 1950s America. At the height of their popularity, there were over 4,000 drive-in theaters located across the United States. Their great success came because they were suitable to the mindset of the time-they provided a place for a family to be together without dress code, babysitter, or parking problems, and without having to leave their beloved cars. Construction of 23 drive-in theaters occurred in the Indianapolis area between 1940 and 1974. These varied in size and location, but all contained the essential ingredients-a large concession stand, children's playground, and any other gimmick that would gather their audiences before sunset.By the mid-1960s, the drive-in theater industry began a steady decline which has continued to present. The drive-in theater always faced obstacles, including weather, insects, seasons, and poor technical quality of both picture and sound. Adding to this was the change in the American mindset, increased opposition from community moralists, and especially, the rise in property values.This creative project documents the general history of drive-in theaters across the United States, takes a closer look at the drive-in theaters in the Indianapolis area, and records them in an inventory.
Department of Architecture

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15

Seyferth, Staci Lynne. "Digital playhouse". This title; PDF viewer required. Home page for entire collection, 2004. http://archives.udmercy.edu:8080/dspace/handle/10429/9.

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16

Labosier, James Bruce. "Motion Picture Exhibition and the Development of a Middle-class Clientele: Portland, Oregon, 1894-1915". PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/4952.

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For about the first fifteen years after its commercial introduction motion picture entertainment throughout the United States was supported almost entirely by the mass of urban industrial workers, immigrants and their families. Beginning a few years before 1910 motion pictures began acquiring regular support from a limited element of the more affluent citizens until by the end of 1916 they constituted motion pictures' primary audience. This paper examines the audience development and conversion as it occurred in the downtown theaters of Portland, Oregon. Motion pictures were shown to two diverse audiences in Portland during the 1890s, regularly on a mass level to the lower income strata and sporadically to regular stage theater audiences. Their expectations differed greatly. Urban workers craved entertainment for the sake of diversion while middle and upper class audiences required responsibility and purpose in their entertainments. After the turn of the century when big time vaudeville established itself in Portland films were supported almost entirely by the lower class element in arcades and vaudeville theaters. Motion pictures in these venues catered to their audiences' tastes. During the 4-5 year period after nickelodeons developed in 1906 a small number of Portland's middle class became regular patrons, due partially to national imposition of licensing and establishment of a censorship board fostering a more respectable image. After 1910, when national support for motion pictures had been proven permanent and unsatisfied, large movie palaces emerged in Portland. These theaters and their amenities created atmospheres consistent with those of stage theaters, providing comfortable and familiar surroundings for middle class audiences. Industrywide developments such as increased story length, better quality productions and evidence of social responsibility enhanced the ease of middle class transition from the stage theater to the movie theater.

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17

Van, Dyk Stephanie. "Re-interpretation of the cinema". Diss., Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-05182005-112443.

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18

Brown, Anna Marie. "Cinerati". PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/808.

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From the polluted canals of turn-of-the-century Birmingham, England, William Moxley is an ineffectual captain of industry burning for a Music Hall life. With his unlikely bride Elvina in tow, he journeys to the west coast of the United States, only to shipwreck against his lifelong dream--a vaudeville hall called "The Sunshine." In "Dear Clara," a depression-era love story, Warren Wilkerson has been a Sunshine fixture since the age of six; suddenly forced out by the theatre's back-stabbing, bootlegging "owner," Warren must resort to desperate measures in order to pay for his dying wife's insulin. Freewheeling philosopher Holly Jo is a Seattleite sausage cart owner with a bun in the oven. Having recently lost her parents, she forges a new family from the fringes of 1974 arthouse--it's "The Labor of Holly Jo Daffodil." In "Chapter Eleven," foul-mouthed Red--the Helios's manager--learns that his boss is selling out to evil Emerald Cinemas; the news triggers a long-overdue heart attack, which turns out to be the least of his worries. Beginning with the birth of the feature length and ending at the onset of the digital age, Cinerati is a comic salute to the celluloid era--a grand era spanning over a century. Featuring an eccentric ensemble where a bit player in one decade can take a lead role in the next, Cinerati celebrates the venues in which cinema was meant to be seen, and the strange families that pop up wherever the projectors flicker.

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19

Braun, Lori. "Montreal suburban nonplaces : Famous Players theatres and the deterioration of urban community". Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79748.

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The goal of this thesis is to examine the way in which economics shape suburban Famous Players megaplexes in Montreal and how they abet a destruction of urban community. I use Jameson and the critique of the Situationiste International to demonstrate the value, in this case, of examining the relationship between the economic and community. Jameson aptly describes an economic disorientation and identity crisis created by postmodern capitalism. The SI brings to light a loss of enchantment resulting from mass produced products and spaces. I describe the way in which the symbolism, architecture, and aesthetics of the megaplex are a direct result of the space's capitalist needs and form a place that is alienated, in every sense, to locality. Sorkin and Auge serve to further illustrate the way in which postmodern spaces are rootless non-places and risk destroying vital aspects of locality. I will also explore, using Buck-Morss and Eagleton, how the bonds of the megaplex non-place community are maintained through the sensual pleasure of virtual entertainment. I will argue that this entertainment and space, dislocated from community, abets a slow deterioration of identity with relation to place.

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20

Chiu, Chun-Kai. "Movie theater ticket order system: (MTTOS)". CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2541.

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This project is a movie theater order system. This system allows people to get movie information and purchase tickets on the Internet. This project is based on a Model-View-Controller (MVC) architecture, which introduces a controller servlet to provide a single point of entry to the web system and encourages more reuse and extensibility of the code.

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21

周漢邦 i Hon-bong Stephen Chow. "Clineplex: city and its cinematicexperience". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986389.

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22

Yan, Kwan-shing, i 甄君成. "Management science: quenes in cinemas". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31267798.

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23

劉力榮 i Lik-wing Raymond Lau. "A Cinema(tic City)walk". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31984654.

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24

Jacobs, Rebecca Mary. "On stage". Thesis, Virginia Polytechnic Institute and State University, 1988. http://hdl.handle.net/10919/53169.

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25

"電影院於香港社會、經濟脈絡下的經營狀況: 概念電影院與百老匯電影中心個案研究". 2010. http://library.cuhk.edu.hk/record=b5894325.

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吳國鈞.
"2010年2月".
"2010 nian 2 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2010.
Includes bibliographical references (leaves 199-209).
Abstracts in Chinese and English.
Wu Guojun.
Chapter 第一章 --- 導言 --- p.1
Chapter 第二章 --- 電影中心的電影放映活動景觀
Chapter 2.1 --- 前言 --- p.24
Chapter 2.2 --- 香港「非主流」電影放映的脈絡 --- p.26
Chapter 2.3 --- 院線主導的「非主流」電影放映景觀 --- p.46
Chapter 2.4 --- 院線主導的「非主流」電影活動景觀 --- p.63
Chapter 2.5 --- 作爲本地「非主流」電影活動的核心場地 --- p.83
Chapter 2.6 --- 小結 --- p.98
Chapter 第三章 --- 「非主流」電影與文化產業項目的結合
Chapter 3.1 --- 前言 --- p.100
Chapter 3.2 --- 「非主流」電影作爲本地文化項目接合點的歷史脈絡 --- p.103
Chapter 3.3 --- 「kubrick」作爲本地文化產業的平台 --- p.118
Chapter 3.4 --- 「kubrick」文化形象的前線構建 --- p.132
Chapter 3.5 --- 小結 --- p.144
Chapter 第四章 --- 社區空間與電影中心的公共性質
Chapter 4.1 --- 前言 --- p.145
Chapter 4.2 --- 電影院於本地社區角色的歷史脈絡 --- p.147
Chapter 4.3 --- 油麻地社區與百老匯電影中心 --- p.161
Chapter 4.4 --- 電影閱覽室的公共角色 --- p.175
Chapter 4.5 --- 小結 --- p.188
Chapter 第五章 --- 總結 --- p.189
參考書目及資料 --- p.199

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26

"Cinema 2047". 2001. http://library.cuhk.edu.hk/record=b5890977.

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Yip Ting Wai Chris.
"Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2000-2001, design report."
Includes bibliographical references.
Project Background
Initiation --- p.1
Project vision --- p.2-3
Scenario --- p.4
Project brief --- p.5
Site Study --- p.6-10
Design Process
Idea generation --- p.11
First phase --- p.12-15
Second phase --- p.16
Third phase --- p.17
Final Design --- p.18-24
Appendix
Background Research
Hong Kong cinema
Hong Kong Architecture
Program research
Analysis of existing state
Client & User
Site analysis
Future State
Architectural issues & goals
List of activities
Building Program

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27

"Existential space". 2005. http://library.cuhk.edu.hk/record=b5892309.

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Law Mei Ying.
"Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2004-2005, design report."
Includes bibliographical references.
Existential Space --- p.001
Moving experience --- p.007
Film in architecture --- p.027
Architecture in film --- p.045
Time Space City --- p.049
Time Space Film --- p.056
Experimental Site --- p.070
Program --- p.101
ideas and design --- p.105
Reference material --- p.141

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28

"Consolation of darkness". 2009. http://library.cuhk.edu.hk/record=b5893923.

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Cheng Ka Yi Jennifer.
"Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2008-2009, design report."
Includes bibliographical references (p. 113-121).
Preface
Chapter I --- Darkness --- p.13
Chapter II --- Cinemas --- p.27
Chapter III --- in the Cinema --- p.49
Chapter IV --- Sketches --- p.61
Chapter V --- Design --- p.83
Reference

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29

Bennett, Tammy Lynne. "Understanding the significance of a neighbourhood movie theatre as a cultural resource". Thesis, 2000. http://hdl.handle.net/2429/10559.

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The Greater Vancouver Regional District (GVRD) is in an era of growth, fundamental change, and reexamination of regional and local quality of life. Within this context, the complete community policies of the Livable Region Strategic Plan have been developed to help achieve a region where human community flourishes within the built and natural environment. The complete communities concept provides people with broader diversity in the physical and social elements of community - houses, travel, workplaces, social contacts, public services, recreation activities, shops and personal services (GVRD, 1995). By allowing this diversity, people will have a wider range of choices for urban living. In recent years, municipalities in the GVRD have begun to recognize that cultural resources are integral to the overall health, vitality and livability of the region. The role of culture and cultural resources in maintaining and enhancing the region's livability is acknowledged in two of the complete community policies. Cultural resources are the "things" which give a neighbourhood, a city, or region its particular sense of time and place and they are the expressions of what that place is. The conservation of cultural resources to a community provides a means of making a neighbourhood, city or region more aesthetically pleasing, and thus more livable. Neighbourhood movie theatres, for example, are one of the many types of buildings with cultural significance which may contribute to a community's character, quality of life and foster a sense of pride for residents in Vancouver communities. Neighbourhood movie theatres have been an essential component of the movie-going experience for the citizens of Vancouver since the 1930s. The purpose of this thesis is to ascertain whether cultural resources, such as a movie theatre, contribute to a complete community. Through both a literature review and case study approach, the research sought to understand the significance of cultural resources, such as a movie theatre, to a community. The thesis focuses on the case study of the Hollywood Theatre in Kitsilano to explore how a local cultural resource contributes to the community. A survey was designed and administered to 60 patrons of the Hollywood Theatre. The study concludes that the patrons of the Hollywood Theatre indicated that the theatre contributes to the vitality, and livability of the community. The prospects for achieving complete communities in established neighbourhoods will be influenced by local perspectives on growth, and change. Complete community objectives and strategies may be accepted locally to the degree they are seen as a means to achieve community aspirations and improve the quality of life of residents.

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30

Nelligan, Pariece. "Walking the vocational tightrope : narratives of aspiration, creativity and precarious labour". Thesis, 2014. http://hdl.handle.net/1959.7/uws:34885.

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The aim of this research is to explore the idea of the disembedded, creative, unencumbered neo-liberal subject. I explore this within the context of the creative industries and the creative career, firstly because creative workers exemplify a move away from traditional notions of career to more informal precarious and intermittent employment, secondly because they are said to be ‘iconic’ in terms of the new economy (Gill, 2002; Leadbeater and Oakley, 1999; Ross, 2007) and thirdly because the biographical patterns of creative workers and creative careers reflect the structural force of postmodern, reflexive modernity. This thesis investigates the degree to which the guiding ideas and institutional features of modernity and the industrial era (class, gender, family, community) continue to govern the lives of aspiring film and television workers. Beck (1992), Beck and Beck-Gernsheim (2002) and Giddens (1991) for example, argue that the features of traditional life no longer hold sway, and that people’s identities are now reflexively constructed. However, this research finds that there are residual effects of class and gender that continue to shape the biographical narratives and identities of working-class creative aspirants. By conducting a series of semi-structured life history interviews and through participant observation and narrative analysis, this thesis argues that class and gender norms continue to operate at the heart of society and specifically creative work, and that these norms have the capacity to guide people’s trajectories and sense of self.

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