As topic for this essay I did choose to write about the aspects of the experiences of cinemagoers. At first I will compare Australian and European Cinemas and afterwards I will point out two different points of views, one of an European spectator and on of an American one. At last I will mention some other personal experiences with the Cinema. You will see that there is a concentration in the cinema marked and that the smaller cinemas disappear. A development more seen in Australia than e.g. in Germany. An other point will be the number of the movies produced in the own country.
Table of Contents
1. Introduction
2. Cinemas
2.1. The theatres
2.2. Top Movies
3. The Spectator’s experiences
3.1. The Italian way
3.2. The American way
3.3. Some other ways
4. Conclusion
Objectives and Topics
This essay explores the evolving experiences of cinema-goers by comparing the cinema industries in Australia and Germany between 1998 and 2002. It investigates the impact of market concentration on smaller theaters and examines how individual spectator experiences, influenced by cultural and historical contexts, shape the relationship between the viewer and the cinema.
- Comparative analysis of cinema infrastructure in Australia and Germany.
- Market concentration trends and the disappearance of smaller theaters.
- Cultural differences in cinema-going habits and spectator perceptions.
- The influence of national film production versus imported, primarily US-based, content.
- Historical and personal dimensions of the "cinema experience."
Excerpt from the Book
3.1. The Italian way
“There were years when I went to the cinema almost every day…”11 says the writer of the first autobiography. For him the movies where a cosmos for it self, an escape from the normal world. He actually really had to escape. Being a young Italian boy, he used to be raised in a traditional way. As a new medium, the movie attracted him in some mythical way. For him it was the one thing. The myth. He went to the theatres a couple of time a day, always sneaking out of his parents’ house. At this time he was between 13 and 18 years.
He already had some strong romantic feelings12 and recognizes a phenomenon still existing today: People try to spread out the most possible in the movies and to have their small but lonely, private, space for themselves.
Probably the big thing these times was to have something American. European youth, soon restricted through the fascism13, where wild for those new and amazing things. The where changing the horizon. But still entertaining, not like the heavy14 other films. Even today the context tells about development not been imported to Europe (and Australia) yet. It used to be far, it’s close now.
Chapter Summary
1. Introduction: Outlines the scope of the essay, focusing on a comparative analysis of Australian and European cinemas and personal spectator experiences.
2. Cinemas: Provides a statistical comparison of the cinema industry in Germany and Australia, highlighting market concentration trends.
2.1. The theatres: Details the quantitative shifts in theater, screen, and seat numbers in both Germany and Australia.
2.2. Top Movies: Analyzes the market share of national versus US-imported films and identifies popular film trends.
3. The Spectator’s experiences: Introduces a qualitative analysis of how individuals experience cinema through different cultural lenses.
3.1. The Italian way: Examines the autobiographical perspective of an Italian youth finding escape and identity in the cinema.
3.2. The American way: Explores the motivations and personal connection of an American cinema-goer to the lonely, dark atmosphere of theaters.
3.3. Some other ways: Discusses the broader myth-making aspect of cinema and common feelings shared by various writers.
4. Conclusion: Reflects on the changing nature of the cinema experience, suggesting a shift from artistic magic to commercialized business.
Keywords
Cinema, Australia, Germany, Spectator, Film Industry, Market Concentration, Movie Theatres, Cultural Comparison, Cinema Experience, Film History, Globalization, Audience, Media Studies.
Frequently Asked Questions
What is the primary focus of this research paper?
The paper explores the structural and experiential aspects of cinema-going, specifically contrasting the industries in Australia and Germany and examining individual spectator experiences.
What are the central themes discussed in the work?
Key themes include the impact of economic scale on cinema numbers, the dominance of US film imports, and the psychological relationship between the spectator and the cinema environment.
What is the main objective or research question?
The objective is to compare how cinema infrastructure has changed across different geographical regions and to analyze the deeply personal, often solitary, experience of the cinema-goer.
Which scientific methodology is applied?
The author utilizes a comparative statistical analysis of market data alongside a qualitative review of autobiographical and reader-based texts regarding cinema experiences.
What topics are covered in the main body of the text?
The main body covers quantitative industry developments (theaters, screens, seats), a breakdown of movie origins, and a qualitative study of spectator perceptions in Italy and America.
Which keywords define this work?
Essential keywords include Cinema, Australia, Germany, Spectator, Film Industry, Market Concentration, and Cinema Experience.
How do market concentration trends differ between Australia and Germany?
The research notes that while both experience concentration, Australia's geographical spread requires different strategies compared to the more densely populated city structures in Germany.
What conclusion does the author reach regarding the 'dream factory'?
The author concludes that cinema is losing its unique, dream-like quality as it becomes increasingly driven by money and big business rather than artistic expression.
- Quote paper
- Sebastian Geipel (Author), 2003, Aspects of the private-public experiences of cinema-going, Munich, GRIN Verlag, https://www.grin.com/document/22223
