SOME HISTORY OF THE EARLY CREATION OF MOTION PICTURES? (In the Entertainment industry.)

Race Horse First Film Ever 1878 / Photo Credit: Eadweard Muybridge

SOME HISTORY OF THE EARLY CREATION OF MOTION PICTURES? (In the Entertainment industry.)  

Bruce Bisbey…please follow me at: https://dumbdogproductions.com/

https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

Some history of the early creation of motion pictures?

The first machine patented in the United States that showed animated pictures or movies was a device called the "wheel of life" or "zoopraxiscope." Patented in 1867 by William Lincoln, it allowed moving drawings or photographs to be viewed through a slit in the zoopraxiscope. However, this was a far cry from motion pictures as we know them today.

What Was the First Movie Ever Made?

Roundhay Garden Scene (1888) the world's earliest surviving motion-picture film, showing actual consecutive action is called Roundhay Garden Scene. It's a short film directed by French inventor Louis Le Prince. While it's just 2.11 seconds long, it is technically a movie. The earliest films were in black and white, under a minute long and without recorded sound.

The novelty of realistic moving photographs was enough for a motion picture industry to blossom before the end of the century, in countries around the world. "The Cinema" was to offer a cheaper, simpler way of providing entertainment to the masses. Filmmakers could record actors' performances, which then could be shown to audiences around the world. Travelogues would bring the sights of far-flung places, with movement, directly to spectators' hometowns. Movies would become the most popular visual art form of the late Victorian age.

The Berlin Wintergarten Theater hosted an early movie presentation in front of an audience, shown by the Skladanowsky brothers in 1895. The Melbourne Athenaeum started to screen movies in 1896. Movie theaters became popular entertainment venues and social hubs in the early 20th century, much like cabarets and other theaters.

Until 1927, motion pictures were produced without sound. This era is referred to as the silent era of film. To enhance the viewers' experience, silent films were commonly accompanied by live musicians in an orchestra, a theatre organ, and sometimes sound effects and even commentary spoken by the showman or projectionist. In most countries, intertitles came to be used to provide dialogue and narration for the film, thus dispensing with narrators, but in Japanese cinema human narration remained popular throughout the silent era. The technical problems were resolved by 1923.

The Lumière Brothers and the Birth of Motion Pictures

Modern motion picture making began with the invention of the motion picture camera. French brothers Auguste and Louis Lumière are often credited with inventing the first motion picture camera, although others had developed similar inventions at around the same time. What the Lumières invented was special, however. It combined a portable motion-picture camera, film processing unit, and a projector called the Cinematographe. It was basically a device with three functions in one.

The Cinematographe made motion pictures very popular. It can even be said that Lumiere's invention gave birth to the motion picture era. In 1895, Lumiere and his brother became the first to demonstrate photographic moving pictures projected onto a screen for a paying audience of more than one person. The audience saw ten 50-second films, including the Lumière brother’s first, Sortie des Usines Lumière à Lyon (Workers Leaving the Lumière Factory in Lyon).

However, the Lumiere brothers were not the first to project film. In 1891, the Edison Company successfully demonstrated the Kinetoscope, which enabled one person at a time to view moving pictures. Later in 1896, Edison showed his improved Vitascope projector, the first commercially successful projector in the U.S.

Here are some of the other key players and milestones in the history of motion pictures:

Eadweard Muybridge

San Francisco photographer Eadweard Muybridge conducted motion-sequence still photographic experiments and is referred to as the "Father of the Motion Picture," even though he did not make films in the manner in which we know them today.

Thomas Edison

Thomas Edison's interest in motion pictures began prior to 1888. However, the visit of Eadweard Muybridge to the inventor's laboratory in West Orange in February of that year certainly stimulated Edison's resolve to invent a motion picture camera.

Thomas Edison and his British assistant William Dickson worried that others were gaining ground in camera development. The pair set out to create a device that could record moving pictures. In 1890 Dickson unveiled the Kinetograph, a primitive motion picture camera.

Whereas film equipment has undergone drastic changes throughout the course of history, 35mm film has remained the universally accepted film size. We owe the format to a great extent to Edison. In fact, 35mm film was once called the Edison size.

George Eastman

In 1889, the first commercial transparent roll film, perfected by Eastman and his research chemist, was put on the market. The availability of this flexible film made possible the development of Thomas Edison's motion picture camera in 1891.

Colorization

Film Colorization was invented by Canadians Wilson Markle and Brian Hunt in 1983.

Walt Disney

Mickey Mouse's official birthday is November 18, 1928. That's when he made his first film debut in Steamboat Willie. While this was the first Mickey Mouse cartoon released, the first Mickey Mouse Cartoon ever made was Plane Crazy in 1928 and became the third cartoon released. Walt Disney invented Mickey Mouse and the multi-plane camera.

Richard M. Hollingshead

Richard M. Hollingshead patented and opened the first drive-in theater. Park-In Theaters opened on June 6, 1933 in Camden, New Jersey. While drive-in showings of movies took place years earlier, Hollingshead was the first to patent the concept.  

The IMAX Movie System

The IMAX system has its roots in EXPO '67 in Montreal, Canada, where multi-screen films were the hit of the fair. A small group of Canadian filmmakers and entrepreneurs (Graeme Ferguson, Roman Kroitor, and Robert Kerr) who had made some of those popular films decided to design a new system using a single, powerful projector rather than the cumbersome multiple projectors used at that time. To project images of far greater size and with better resolution, the film is run horizontally so that the image width is greater than the width of the film.

References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, History Channel, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Studio Binder, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Careers Hub, Screen Play Scripts, Elements of Cinema, Script Doctor, ASCAP, Film Independent, Any Possibility, CTLsites, NYFA, Future Learn, VOM Productions, Mad Studios, Rewire, DP School, Film Reference, DGA, IATSE, ASC, MPAA, HFPA, MPSE, CDG, AFI, Box Office Mojo, Rotten Tomatoes, Indie Film Hustle, The Numbers, Netflix, Vimeo, Instagram, Pinterest, Metacritic, Hulu, Reddit, NATO, Mental Floss, Slate, Locations Hub, Film Industry Statistics

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Race Horse First Film Ever 1878 / Photo Credit: Eadweard Muybridge

SOME HISTORY OF THE DRIVE IN MOVIE THEATER? (In the Entertainment industry.)

First drive-in theater Camden NJ 1933 / Photo Credit: Electronics Magazine

SOME HISTORY OF THE DRIVE IN MOVIE THEATER? (In the Entertainment industry.)  

Bruce Bisbey…please follow me at: https://dumbdogproductions.com/

https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

Some history of the Drive in Movie Theater?

A drive-in theater or drive-in cinema is a form of cinema structure consisting of a large outdoor movie screen, a projection booth, a concession stand and a large parking area for automobiles. Within this enclosed area, customers can view movies from the privacy and comfort of their cars. Some drive-ins have small playgrounds for children and a few picnic tables or benches.

The screen can be as simple as a wall that is painted white, or it can be a steel truss structure with a complex finish. Originally, the movie's sound was provided by speakers on the screen and later by individual speakers hung from the window of each car, which were attached by wire. These systems were superseded by the more economical and easier to maintain method of broadcasting the soundtrack at a low output power on AM or FM radio to be picked up by a car radio. This also allows the soundtrack to be picked up in stereo by the audience on an in-car stereo system which is typically higher quality and fidelity than the simple speakers used in the old systems.  

Though there were drive-ins as early as the 1910s, the first patented drive-in was opened on June 6, 1933 by Richard Hollingshead in New Jersey. He created it as a solution for people unable to comfortably fit into smaller movie theater seats after creating a mini drive-in for his mother. Appealing to families, Hollingshead advertised his drive-in as a place where “The whole family is welcome, regardless of how noisy the children are.” Eager motorists park their automobiles on the grounds of Park-In Theaters, the first-ever drive-in movie theater, located on Crescent Boulevard in Camden, New Jersey.

Park-In Theaters–the term “drive-in” came to be widely used only later–was the brainchild of Richard Hollingshead, a movie fan and a sales manager at his father’s company, Whiz Auto Products, in Camden. Reportedly inspired by his mother’s struggle to sit comfortably in traditional movie theater seats, Hollingshead came up with the idea of an open-air theater where patrons watched movies in the comfort of their own automobiles. He then experimented in the driveway of his own house with different projection and sound techniques, mounting a 1928 Kodak projector on the hood of his car, pinning a screen to some trees, and placing a radio behind the screen for sound. He also tested ways to guard against rain and other inclement weather, and devised the ideal spacing arrangement for a number of cars so that all would have a view of the screen.

The young entrepreneur received a patent for the concept in May of 1933 and opened Park-In Theaters, Inc. less than a month later, with an initial investment of $30,000. Advertising it as entertainment for the whole family, Hollingshead charged 25 cents per car and 25 cents per person, with no group paying more than one dollar. The idea caught on, and after Hollingshead’s patent was overturned in 1949, drive-in theaters began popping up all over the country. One of the largest was the All-Weather Drive-In of Copiague, New York, which featured parking space for 2,500 cars, a kid’s playground and a full service restaurant, all on a 28-acre lot.

The success of Hollingshead’s drive-in caused more and more drive-ins to appear in every state in the country, and spread internationally as well. Drive-ins gained immense popularity 20 years later during the 1950s and ‘60s with the Baby Boomer generation. There were over 5,000 drive-ins throughout the U.S. and most were located in rural areas. They maintained popularity as both a space for families to spend time with each other as well as an affordable date night option. Drive-in theaters showed mostly B-movies–that is, not Hollywood’s finest fare–but some theaters featured the same movies that played in regular theaters. The initially poor sound quality–Hollingshead had mounted three speakers manufactured by RCA Victor near the screen–improved, and later technology made it possible for each car’s to play the movie’s soundtrack through its FM radio.

Drive-ins could only show movies during certain times of the year and were dependent on having decent weather. During the ‘70s, people downsized their cars during the oil crisis in order to save money on the inflated cost of gas, making it uncomfortable to watch movies at the drive-in. To make up for lost revenue, drive-ins began losing their family-friendly atmosphere by showing exploitation films like slasher horrors as well as adult content. The development of the VCR made it more appealing to stay at home and watch movies without paying for a movie at the drive-in.

Slowly, drive-ins began to lose their appeal. In order to have an effective drive-in, it had to be on at least 15 acres of land. Economically speaking, it became more practical for owners to close down their drive-ins in order to sell their land to developers to build malls or multi-building complexes.

Even though drive-ins are not nearly as popular as they used to be (with some arguing that they will be obsolete within the next decade), there are still drive-ins in business throughout the country. Modern drive-ins vary, but many show current films as well as older films. A lot of them also plan double feature nights. Just like a classic drive-in and a regular theater, they sell refreshments like popcorn, candy and soda. Some even have playgrounds for families to entertain their children.

For now, there are over 300 drive-ins still in operation. Ohio, New York and Pennsylvania have the most drive-ins still in operation in the U.S., with each state having almost 30 left. Unfortunately, Hawaii, North Dakota, Wyoming, Alaska, Delaware, and Louisiana no longer have any that are still in business. But no matter the fate of America’s drive-ins, they will always be a nostalgic and cultural icon.

References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, History Channel, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Studio Binder, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Careers Hub, Screen Play Scripts, Elements of Cinema, Script Doctor, ASCAP, Film Independent, Any Possibility, CTLsites, NYFA, Future Learn, VOM Productions, Mad Studios, Rewire, DP School, Film Reference, DGA, IATSE, ASC, MPAA, HFPA, MPSE, CDG, AFI, Box Office Mojo, Rotten Tomatoes, Indie Film Hustle, The Numbers, Netflix, Vimeo, Instagram, Pinterest, Metacritic, Hulu, Reddit, NATO, Mental Floss, Slate, Locations Hub, Film Industry Statistics

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

First drive-in theater Camden NJ 1933 / Photo Credit: Electronics Magazine

WHAT IS THE NATIONAL ASSOCIATION OF THEATRE OWNERS? (In the Entertainment industry.)

NATO / Photo Credit: Department of Justice

WHAT IS THE NATIONAL ASSOCIATION OF THEATRE OWNERS? (In the Entertainment industry.)  

Bruce Bisbey…please follow me at: https://dumbdogproductions.com/

https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

What is the National Association of Theatre Owners?

nato@natodc.com

Phone: +1 202 962 0054

The National Association of Theatre Owners (NATO) is a United States-based trade organization whose members are the owners of movie theaters. Most of the worldwide major theater chains' operators are members, as are many independent theater operators.

History

As the motion picture industry became larger, movie production companies began consolidating and controlling distribution. The largest producer, Famous Players-Lasky, joined and later merged with the largest distributor, Paramount (eventually becoming Paramount Pictures), and together they began block-booking in 1917, forcing theaters to buy mediocre films to get the good ones. Theaters banded together to bargain for better pricing, with 26 of the largest combining into First National Exhibitors Circuit—which went on to become a producer and distributor in its own right, before being bought by Warner Bros. By 1921, Paramount already owned 300 theaters, and other producers were catching up. Studios soon contracted with each other to keep first-runs inside the affiliated network, using this access to coerce independents into selling out.

In 1921, the first predecessor of NATO was founded, the largely affiliated Motion Picture Theater Owners of America (MPTOA), soon followed by the independent Allied States Association of Motion Picture Exhibitors (Allied), Unaffiliated Independent Motion Picture Exhibitors of America, National Independent Theatre Exhibitors, and more, to demand better pricing and access to first-runs. Unlike the others, the MPTOA embraced affiliated theaters, and soon became the largest organization.

During World War II, many theaters joined the new War Activities Committee, after the war becoming the Theatre Activities Committee and soon American Theatre Association (ATA), which strongly supported United States v. Paramount Pictures, Inc., the antitrust case against all of the major studios. A plan to merge with MPTOA, which strongly supported the studios, ran into friction, with many affiliated theaters leaving the ATA over its stance; conversely Allied, the largest purely-independent group, refused to join over the presence of affiliates. The merger went ahead in 1947, minus affiliates of Loews, RKO, and Warner Bros., and they became the Theater Owners of America (TOA) with about 10,000 theaters.

After divestiture in the fallout of the 1948 Paramount decision, many formerly-affiliated theaters ended up joining either TOA or Allied. During the post-war period, theater revenue collapsed as television became widespread, even as film rental became more expensive, and thousands of theaters closed, particularly in city centers hard hit by suburban flight. Finally, in 1966 TOA and Allied merged into the National Association of Theatre Owners, largely based on TOA's structure but headed by Marshall Fine, former Allied chairman.

The 1970s were difficult for NATO; although the blockbuster The Godfather revitalized theater-going and revenue, in 1975 a new National Independent Theatre Exhibitors (NITE) came together to challenge NATO, eventually numbering almost a thousand theaters, and governance reforms were pushed by members as well. When the reforms stalled, the entire California and Illinois chapters pulled out in 1977, along with many small chains around the nation. After 1980, many of the requested reforms were finally implemented, including a full-time president and a full-time lobbyist in Washington, as well as moving its headquarters from New York to Los Angeles; by the end of the decade, NITE had folded back into NATO, leaving only one dominant organization.

The 1980s saw a relaxation of antitrust regulation and subsequent purchasing of many chains by distributors and large conglomerates, including 120 theaters by Paramount and Warner; by the end of the decade, consolidation left the top 10 owners in control of 55 percent of the industry. In the 1990s, theater growth exploded, and by 1999, movie screens peaked at 36,448, the vast majority of which were affiliated with NATO.

What NATO Is

The National Association of Theatre Owners is the largest exhibition trade organization in the world, representing over 33,000 movie screens in all 50 states, and additional cinemas in 102 countries worldwide.

What NATO Does

Headquartered in Washington, D.C., with a second office in North Hollywood, California, NATO represents its members in the heart of the nation’s capital as well as the center of the entertainment industry. From these vantage points, NATO helps exhibition influence federal policy-making and work with movie distributors on all areas of mutual concern, from new technologies to legislation, marketing, and First Amendment issues.

Advocacy and Initiatives

NATO is ever watchful for opportunities to advance and protect the motion picture exhibition industry.  The Association has numerous initiatives underway that address key issues for exhibitors, everything from cinema technologies to movie theft.  Ongoing NATO programs help exhibitors understand and utilize cinema technologies, tackle government relations challenges and fight movie theft.  NATO also supports exhibitors’ efforts to enforce the voluntary ratings system, and to preserve the theatrical release window.  NATO’s newest initiatives are in the marketing arena, exploring exciting new ways to attract patrons to the cinema experience. Click here to learn more about NATO’s initiatives.

Patron Education and Employee Training

We have distributed materials and training tapes to our members to assist them in their enforcement efforts.  The rating system is a shared responsibility between the entertainment industry and America’s parents.  Advertisements for movies with adult content should not be targeted to children.  NATO believes that parents must be informed in order to make responsible decisions. Click here to learn more about NATO’s patron education materials and click here to learn more about NATO’s employee training materials.

Membership

Our membership includes the largest cinema chains in the world and hundreds of independent theater owners too.

References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Studio Binder, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Careers Hub, Screen Play Scripts, Elements of Cinema, Script Doctor, ASCAP, Film Independent, Any Possibility, CTLsites, NYFA, Future Learn, VOM Productions, Mad Studios, Rewire, DP School, Film Reference, DGA, IATSE, ASC, MPAA, HFPA, MPSE, CDG, AFI, Box Office Mojo, Rotten Tomatoes, Indie Film Hustle, The Numbers, Netflix, Vimeo, Instagram, Pinterest, Metacritic, Hulu, Reddit, NATO, Mental Floss, Slate, Locations Hub, Film Industry Statistics

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

NATO / Photo Credit: Department of Justice

WHAT IS A NICKELODEON MOVIE THEATER? (In the Entertainment industry.)

1910 Nickelodeon / Photo Credit: William James - City of Toronto Archives - Fonds 1244

WHAT IS A NICKELODEON MOVIE THEATER? (In the Entertainment industry.)  

Bruce Bisbey…please follow me at: https://dumbdogproductions.com/

https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

What is a nickelodeon movie theater?

The nickelodeon was the first type of indoor exhibition space dedicated to showing projected motion pictures. Usually set up in converted storefronts, these small, simple theaters charged five cents for admission and flourished from about 1905 to 1915.

"Nickelodeon" was concocted from nickel, the name of the U.S. five-cent coin, and the ancient Greek word Odéon, a roofed-over theater, the latter indirectly by way of the Odéon in Paris, emblematic of a very large and luxurious theater, much as Ritz was of a grand hotel. For unknown reasons, in 1949 the lyricist of a popular song "Music! Music! Music!" incorporated the refrain "Put another nickel in, in the nickelodeon…” evidently referring to either a jukebox or a mechanical musical instrument such as a coin-operated player piano or orchestra. The meaning of the word has been muddied ever since. In fact, when it was current in the early 20th century, it was used only to refer to a small five-cent theater and not to any coin-in-the-slot machine, including amusement arcade motion-picture viewers such as the Kinetoscope and Mutoscope.[improper synthesis?]

The earliest films had been shown in "peep show" machines or projected in vaudeville theaters as one of the otherwise live acts. Nickelodeons drastically altered film exhibition practices and the leisure-time habits of a large segment of the American public. Although they were characterized by continuous performances of a selection of short films, added attractions such as illustrated songs were sometimes an important feature. Regarded as disreputable and dangerous by some civic groups and municipal agencies, crude, ill-ventilated nickelodeons with hard wooden seats were outmoded as longer films became common and larger, more comfortably furnished motion-picture theaters were built, a trend that culminated in the lavish "movie palaces" of the 1920s.

Film historian Charles Musser wrote: "It is not too much to say that modern cinema began with the nickelodeons."

History

The name "Nickelodeon" was first used in 1888 by Colonel William Austin for his Austin's Nickelodeon, a dime museum located in Boston, Massachusetts. The term was popularized by Harry Davis and John P. Harris, who opened a small storefront theater with the name on Smithfield Street in Pittsburgh, Pennsylvania, on June 19, 1905. Although it was not the first theater to show films, in 1919 a news article stated that it was the first theater in the world "devoted exclusively to exhibition of moving picture spectacles". Davis and Harris found such great success with their operation that their concept of a five-cent theater showing movies continuously was soon imitated by hundreds of ambitious entrepreneurs, as was the name of the theater itself. Statistics at the time show that the number of nickelodeons in the United States doubled between 1907 and 1908 to around 8000, and it was estimated that by 1910 as many as 26 million Americans visited these theaters weekly. Nickelodeons that were in converted storefronts typically seated fewer than 200 – the patrons often sat on hard wooden chairs, with the screen hung on the back wall. A piano (and maybe a drum set) would be placed to the side of, or below the screen. Larger nickelodeons sometimes had the capacity for well over 1000 people. Louis B. Mayer came of age just as the popularity of the nickelodeon was beginning to rise; he renovated the Gem Theater in Haverhill, Massachusetts, converting it into a nickelodeon, which he opened in 1907 as the Orpheum Theater, announcing that it would be "the home of refined entertainment devoted to Miles Brothers moving pictures and illustrated songs". Other well-known nickelodeon owners were the Skouras Brothers of St. Louis.

Changes in film distribution and exhibition

Nickelodeons radically altered the mode of representation that corresponded with changes in the modes of distribution and the types of films being made. Around 1903, longer multi-shot films became more prevalent, and this shift brought about important innovations in the distribution of films with the establishment of "film exchanges". Film exchanges would buy films from manufacturers and then rent them out to exhibitors. With a steady supply of different films, exhibitors finally had the possibility to open venues where films were the central attraction. They did not have to worry about finding new audiences because the same audience would return again and again to watch different films. Exhibition practices greatly varied and programs lasted anywhere from ten minutes to an hour and a half or more in length. Often, programs ran continuously and patrons would join a program already in progress when they arrived and stay as long as they liked. While some nickelodeons only showed films, others offered shows that combined films with vaudeville acts or illustrated songs.

The desirability of longer films, which enabled nickelodeons to grow the way they did, was the result of a number of factors; economic competition between film production companies put pressure on them to create more elaborate, and often longer, films, to differentiate one film from another. Longer films were also more attractive, as the price paid by exhibitors depended on a film's length and the longer a film, the more profit there was to be made. Some exhibitors found longer films more desirable since it made programming easier, faster, and possibly cheaper, as they no longer had to organize their own programs by editing together a variety of short films. Directors had a great desire to make longer films because it meant greater artistic innovation as they tried to find new ways to engage audiences. The popularity of longer films also meant an increase in production of fictional films as actualities decreased. One of the possible reasons for this shift is that fiction films were often easier to plan and cheaper to film than actualities which were subject to various location-related difficulties. Fiction films, quickly became standardized, and the popularity of longer films meant they outperformed actualities, which were usually short.

Audience

Early writers on American cinema history assumed that audiences at nickelodeons were primarily working-class people who could not afford a higher ticket price. More recent historians argue the rise of the middle class audiences throughout the nickelodeon era and into the later 1910s belief to expand the business. At the heart of the image of nickelodeons in traditional histories is the belief that movies were a simple amusement for the working class, and that the middle-class stayed away until after World War I. This idea is reflected in Lewis Jacobs' 1939 survey, where he writes: "concentrated largely in poorer shopping districts and slum neighborhoods, nickelodeons were disdained by the well-to-do. But, the workmen and their families who patronized the movies did not mind the crowded, unsanitary, and hazardous accommodations most of the nickelodeons offered." In recent studies, Robert C. Allen debated whether movies attracted a middle-class audience as illustrated by the location of earlier movie theaters in traditional entertainment districts. Allen writes; "in terms of social class, more nickelodeons were located in or near middle-class neighborhoods than in the Lower East Side ghetto."

Manhattan nickelodeons

The nickelodeon boom in Manhattan between 1905 and 1907 has often functioned as historical shorthand for the rise of the movies in general. Ben Singer writes in his analysis of Manhattan nickelodeons; "for most people ... the image of cramped, dingy nickelodeons in Manhattan's Lower East Side ghetto stands as a symbol for the cinema's emergence in America." Nickelodeons consistently appeared in the densest areas of the city in terms of residential concentration and the amount of pedestrian traffic. Areas such as Union Square, Herald Square, 23rd Street, and 125th Street were typical locations and the larger movie theaters were set up there. Neighborhood nickelodeons, which were the majority of movie theaters in Manhattan, were almost always located in neighborhoods with high residential densities and spread over a substantial number of blocks.

Types of nickelodeon programs

Nickelodeons usually showed films about ten to fifteen minutes in length, and in a variety of styles and subjects, such as short narratives, "scenics" (views of the world from moving trains), "actualities" (precursors of later documentary films), illustrated songs, local or touring song and dance acts, comedies, melodramas, problem plays, stop action sequences, sporting events and other features which allowed them to compete with vaudeville houses.

Decline

Though strong throughout the years from 1905 to 1913, nickelodeons became victims of their own success as attendance grew rapidly, necessitating larger auditoriums. Nickelodeons further declined with the advent of the feature film, and as cities grew and industry consolidation led to larger, more comfortable, better-appointed movie theaters. Longer films caused ticket prices to double from five cents to ten cents. Although their heyday was relatively brief, nickelodeons played an important part in creating a specialized spectator, "the moviegoer", who could now integrate going to the movies into his or her life in a way that was impossible before. Miriam Hansen has noted that the term "spectator" had become common by 1910. The nickelodeon explosion also increased the demand for new films, as thousands of theaters needed new product. The growth of longer films, which nickelodeons played a large part in stimulating, also led to the development of intertitles, which appeared in 1903 and helped make actions and scenes clearer as storylines became more complicated. A side-effect of this change was that it minimized the role of exhibitors, since they no longer had the editorial control of organizing single-shot films into programs, and now their narrative responsibility (some exhibitors would talk and help explain narratives as they unfolded) was also minimized by this "internal narration" in the film.

References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Studio Binder, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Careers Hub, Screen Play Scripts, Elements of Cinema, Script Doctor, ASCAP, Film Independent, Any Possibility, CTLsites, NYFA, Future Learn, VOM Productions, Mad Studios, Rewire, DP School, Film Reference, DGA, IATSE, ASC, MPAA, HFPA, MPSE, CDG, AFI, Box Office Mojo, Rotten Tomatoes, Indie Film Hustle, The Numbers, Netflix, Vimeo, Instagram, Pinterest, Metacritic, Hulu, Reddit, Mental Floss, Slate, Locations Hub, Film Industry Statistics

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

1910 Nickelodeon / Photo Credit: William James - City of Toronto Archives - Fonds 1244

WHY DO THEY CALL IT A CONCESSION STAND? (In the Entertainment industry.)

Concessions / Photo Credit: Wallet Hub

WHY DO THEY CALL IT A CONCESSION STAND? (In the Entertainment industry.)  

Bruce Bisbey…please follow me at: https://dumbdogproductions.com/

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Why do they call it a concession stand?

Concessions at a ballpark or at another venue are called that because the stadium has granted the right to sell food to a certain provider. Chew on that the next time you're munching on peanuts at a game. 

In 1905, the advent of nickelodeon theaters changed the landscape of American entertainment, which was still dominated by live performances, from stage plays to vaudeville. By 1907, around 3,000 nickelodeon theaters had opened, and by 1914 an estimated 27 percent of Americans were going to the movies every week.

Concessions were not sold inside nickelodeons, but snack bars and candy shops frequently flanked the theaters, and independent popcorn and peanut vendors hawked their goods in the theater aisles. It didn’t take much to entice people with popcorn, an already immensely popular treat—they delighted in its transformation from kernel to pop, and were enchanted by its bewitching aroma. According to Andrew F. Smith’s excellent social history, Popped Culture, popcorn vendors had been tantalizing customers since the 1840s, appearing at pretty much any crowded event—fairs, rallies, you name it.

But theater owners had yet to realize just how lucrative concessions could be. Far from embracing food sales, many were downright hostile toward them, particularly as nickelodeons gave way to the fancier movie houses of the teens and ‘20s. During those two decades, in an effort to enhance the movie going experience, ambitious showmen constructed opulent movie palaces, like Sid Grauman’s Chinese Theater in Los Angeles, which opened in 1927. These palaces, some of which cost millions to build, could rival the sophistication of European opera houses. Appointed with expensive antiques, marble columns, bejeweled chandeliers, and even perfume sprayed into common spaces, they transported moviegoers to another world. Yet it was a world without munchies.

Movie theater owners wanted their venues to remain upscale, free from the chomping of snacks you’d find at burlesque shows. They also wanted their plush theaters garbage-free. But as in the nickelodeon days, entrepreneurial vendors sold snacks outside. Popcorn kernels and candy wrappers ended up littering theaters despite owners’ best efforts to keep food out.        

A concession stand (American English), snack kiosk or snack bar (British English, Irish English) is a place where patrons can purchase snacks or food at a cinema, amusement park, zoos, aquariums, fair, stadium, beach, swimming pool, concert, sporting event, or other entertainment venue. Some events or venues contract out the right to sell food to third parties. Those contracts are often referred to as a concession — hence the name for a stand where food is sold. Usually prices for goods at concession stands are greater than elsewhere for the convenience of being close to an attraction, with outside food and drink being prohibited, and they often contribute significant revenue to the venue operator (especially in the case of movie theaters).

History

Concession stands were not originally operated by the movie theaters, and food was often sold by people attending the film or by vendors outside of the theater.

Movie theaters were at first hostile to food in their facilities, but during the Great Depression, theaters added concession stands as a way to increase revenue in the economically stagnant times. By the 1930s, concession stands were a main fixture in many theaters. During World War II, candy was scarce at concession stands because of the sugar rationing going on at the time, and popcorn became more popular than before.

In the late 1940s, and early 1950s, as movie ticket sales were down, sales of food at concession stands increased. In the US concession owners are represented by the National Association of Concessionaires and the National Independent Concessionaires Association.

Types of food

Concession stands typically sell junk food. The most basic concessions at movie theaters include candy, popcorn and soft drinks. Larger concession facilities in stadiums, amusement parks and newer movie theatres have enabled the sale of a limited selection of fast food, including grilling stations and hotplates to prepare hot foods (hamburgers, French fries, pizza, hot dogs, corn dogs, nachos, pretzels, peanuts, popcorn, cotton candy, and churros), and freezers to store cold desserts (snow cones, slushies and ice cream). Sports stadiums/arenas and rock concert venues sell beer and other mild alcoholic beverages, usually in plastic disposable cups since glass bottles could be used as projectiles by unruly spectators. Formal entertainment venues such as symphony concert halls and opera houses often eschew fast food and junk food for more upscale fare, including wine, coffee and tea, baked desserts, and pastries.

Although the above are the most popular common staples at concession stands, there are often region-specific variations. For instance, Citizens Bank Park has Philadelphia-style food stands, including several which serve cheesesteaks, hoagies, and other regional specialties. Busch Stadium includes standard ballpark fare like bratwurst, nachos and peanuts, but also has St. Louis-area favorites such as pork steak sandwiches and toasted ravioli; uniquely Busch Stadium also allows outside food and drink (including soft-sided drink coolers).

The concourse of many newer arenas now include multiple concession stands that essentially form a food court, serving a variety of fast food. Modern stadiums also include numerous grilling stations and soda fountains, bars, cafés, and restaurants. Club seating and luxury boxes have exclusive access to high-end restaurants, cafés, bars, and catering not available to regular ticketholders.

At temporary outdoor events such as fairs, food trucks may operate as concession stands.

Concession operators

Concessions are often contracted out to third parties, including major fast food chains.

References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Studio Binder, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Careers Hub, Screen Play Scripts, Elements of Cinema, Script Doctor, ASCAP, Film Independent, Any Possibility, CTLsites, NYFA, Future Learn, VOM Productions, Mad Studios, Rewire, DP School, Film Reference, DGA, IATSE, ASC, MPAA, HFPA, MPSE, CDG, AFI, Box Office Mojo, Rotten Tomatoes, Indie Film Hustle, The Numbers, Netflix, Vimeo, Instagram, Pinterest, Metacritic, Hulu, Reddit, Mental Floss, Slate, Locations Hub, Film Industry Statistics, Jill Hunter Pellettieri,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Concessions / Photo Credit: Wallet Hub

SOME HISTORY OF POPCORN AT THE MOVIE THEATER? (In the Entertainment industry.)

Movie Popcorn / Photo Credit: Readers Digest

SOME HISTORY OF POPCORN AT THE MOVIE THEATER? (In the Entertainment industry.)  

Bruce Bisbey…please follow me at: https://dumbdogproductions.com/

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Some history of popcorn at the movie theater? 

It’s hard to imagine attending the latest blockbuster without a jumbo bucket of excessively buttery, salty popped corn. (Or, at least, getting a whiff of it.)

Popcorn was hugely popular at fairs and carnivals in the mid-1800s. Street vendors were able to easily make and sell the delicious, aromatic snack food by the bag when the first steam-powered popcorn maker was created in 1885. However, movie theaters wanted to stay far, far away from the pungent, crunchy grub.

They strove to associate themselves more with the latter half of their name: the theater. A real theater would refuse to be associated with food that would be noisily chomped on and messily strewn about by consumers during showings. Before talkies, literacy was a necessity for film-goers, and movie theaters strove to target a well-educated crowd.

In 1927, with the dawn of talkies, movies were no longer just geared toward a "sophisticated" and literate audience. Going to the movies was an activity anyone could enjoy. This coincided with the Great Depression, and Americans wanted cheap entertainment that would help them to get lost in a new reality. Movies fit the bill.

Although early theaters weren’t equipped to handle popcorn machines, independent vendors were quick to jump at the opportunity of selling directly to consumers. Corn kernels were cheap, so popcorn was inexpensive (ranging from five to ten cents a bag) and patrons who were not well-off could enjoy a bag of the goodness. Vendors began selling popcorn to people outside of the theater, allowing for a double profit of simple passersby and film-goers alike. The snack was everywhere. Soon, vendors could, for a small fee, sell popcorn in the lobby directly to people entering the theater.

Movie theater owners began to cut out the street vendors and sell popcorn themselves. Theaters that refused to change with the times and have their own popcorn makers suffered, as the cheap snack became in-demand. (One theater owner even lowered the price of his movie tickets in order to encourage people to come for the food.) For theater owners, the way to stay alive during the Depression was to give the people what they wanted.

During World War II, the sales of popcorn in the United States really took off. Sugar was sent overseas for the military, so there were not as many resources for the creation of candies and soda. Meanwhile, there was no salt or kernel shortage. The food's popularity continued to grow, and the rest is movie history.

References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Studio Binder, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Careers Hub, Screen Play Scripts, Elements of Cinema, Script Doctor, ASCAP, Film Independent, Any Possibility, CTLsites, NYFA, Future Learn, VOM Productions, Mad Studios, Rewire, DP School, Film Reference, DGA, IATSE, ASC, MPAA, HFPA, MPSE, CDG, AFI, Box Office Mojo, Rotten Tomatoes, Indie Film Hustle, The Numbers, Netflix, Vimeo, Instagram, Pinterest, Metacritic, Hulu, Reddit, Mental Floss, Locations Hub, Film Industry Statistics, Maura Lieberman,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Movie Popcorn / Photo Credit: Readers Digest

WHAT IS A BOX OFFICE TERRITORY? (In the Entertainment industry.)

World Map / Photo Credit: Maps of World

WHAT IS A BOX OFFICE TERRITORY? (In the Entertainment industry.)  

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What is a box office territory?           

A box office territory, in context of the film industry, ranges from a single country to a grouping of countries for reporting box office gross ticket sales. This is distinct from dependent territories, though such territories under a country's administrative control may confuse box office revenue and reporting due to data variously including or excluding them.

Background

In box office parlance, "North America" is a territory that comprises the United States and Canada, despite there being 23 countries within the geographical definition of North America. In context of the box office, North America is currently considered the territory with the largest gross. Kelly Crabb wrote in her 2005 book The Movie Business that it has traditionally represented the largest "source of revenues" and also has had "the world's most important" film distribution companies located in it.

China is considered the second largest territory, and The Hollywood Reporter said in 2016 that it is expected to surpass North America in the near future. In September 2017, China's State Administration of Press, Publication, Radio, Film and Television predicted that China would surpass North America in 2020 as the number-one box office territory. In the following October, The Observer reported, "Double-digit growth puts China back on pace to overtake North America as the No. 1 box office territory in the world within the next few years." In April 2018, Variety reported, "It has frequently been predicted that the film business in China would overtake North America's. But many forecasters got their timing wrong when more than a decade of unbroken Chinese growth stalled between mid-2016 and mid-2017." After China's box office grew 9% in 2018 compared to 13.5% the year before, Variety reported of China surpassing North America, "The uneven growth of recent years has undone numerous past forecasts of when that might happen." Reuters reported that despite the second ranking, "[China] already has more total movie screens [than North America] after years of rapid expansion in theater networks."

Japan was originally the second-largest box office territory before it was surpassed by China in 2011. In 2013, the next three largest territories were the United Kingdom, France, and India, and by 2017, South Korea became the sixth largest box office territory and close to France's rank as fifth.

The box office territory of the United Kingdom comprises the UK and Ireland. Malta's box office is added to the UK and Ireland total by at least one data provider. The countries of Belgium, the Netherlands, and Luxembourg, together known as Benelux, are sometimes treated as a single box office territory, although the data is also reported separately for each country by some data providers.

Mexico, whose box office gross is reported separately from the "North American" data, is the top box office territory in Latin America.

Territories by rank

Further information: Film industry § Statistics

In terms of gross revenue, the following box office territories are the top seven in the world, as of 2017 (see Film industry statistics). 

1. North America
2. China
3. India
4. Japan
5. United Kingdom
6. South Korea
7. France 

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THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

World Map / Photo Credit: Maps of World

WHAT DOES MOVIE BOX OFFICE MEAN? (In the Entertainment industry.)

Box Office / Photo Credit: Movie News Net

WHAT DOES MOVIE BOX OFFICE MEAN? (In the Entertainment industry.)  

Bruce Bisbey…please follow me at: https://dumbdogproductions.com/

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What does movie box office mean?           

A box office or ticket office is a place where tickets are sold to the public for admission to an event. Patrons may perform the transaction at a countertop, through a hole in a wall or window, or at a wicket. By extension, the term is frequently used, especially in the context of the film industry, as a synonym for the amount of business a particular production, such as a film or theatre show, receives.

Box office business can be measured in the terms of the number of tickets sold or the amount of money raised by ticket sales (revenue). The projection and analysis of these earnings is very important for the creative industries and often a source of interest for fans. This is predominant in the Hollywood movie industry.

Etymology

The term is attested since 1786, presumably from sales of boxes (private seating areas in a theatre). The sense of "total sales" is attested from 1904.

A folk etymology is that this derives from Elizabethan theatre (i.e. late 16th century), where theatre admission was collected in a box attached to a long stick, passed around the audience; comparable to "bottle" in Punch and Judy, where money was collected in a bottle. However, first attestation is about 200 years later, making this highly unlikely.

Box office reporting

There are numerous websites that monitor box-office receipts, such as Box Office, Box Office India, A Box Office, Box Office Mojo, Koimoi, ShowBIZ Data, and The Numbers. These sites provide box office information for hundreds of movies. Data for older movies is often incomplete due to the way box office reporting evolved, especially in the U.S., and the availability of information prior to the introduction of the internet.

Variety started reporting box office results by theatre on March 3, 1922 to give exhibitors around the country information on a film's performance on Broadway, which was often where first run showings of a film were held. In addition to New York City, they also endeavored to include all of the key cities in the U.S. in future and initially also reported results for 10 other cities including Chicago and Los Angeles.

In 1929, the first issue of The Motion Picture Almanac was released and included a list of the top 104 grossing films for the past year. In 1932, Variety published the studios' top grossing films of the year and has maintained this tradition annually since. In 1937, Box Office magazine began publishing box office reports. Beginning in the 1930s, Box Office magazine published a Barometer issue in January, which reported the performance of movies for the year expressed as percentages.

In 1946, Variety started to publish a weekly National Box Office survey on page 3 indicating the performance of the week's hits and flops based on the box office results of 25 key U.S. cities.

Later in 1946, Variety published a list of All-Time Top Grossers with a list of films that had achieved or gave promise of earning $4,000,000 or more in domestic (U.S. and Canada) rentals. This became a leading source of data for a film's performance. Variety would publish an updated all-time list annually for over 50 years, normally in their anniversary edition each January. The anniversary edition would also normally contain the list of the top performing films of the year.

In the late 1960s, Variety used an IBM 360 computer to collate the grosses from their weekly reports of 22 to 24 U.S. cities from January 1, 1968. The data came from up to 800 theatres which represented around 5% of the U.S. cinema population at the time but around one-third of the total U.S. box office grosses. In 1969, Variety started to publish a list of the top 50 grossing films each week. "The Love Bug" was the number one on the first chart published for the week ending April 16, 1969. The chart was discontinued in 1990.

In 1976, Marcy Polier, an employee of the Mann theater chain, set up Centralized Grosses to collate U.S. daily box office data on a centralized basis rather than each theater chain collating their own numbers from other theater chains. The company later became National Gross Service then Entertainment Data, Inc. (EDI).

Except for disclosures by the studios on very successful films, total domestic (U.S. and Canada) box office gross information for films was not readily available until National Gross Service started to collate this data around 1981. The collation of grosses led to wider reporting of domestic box office grosses for films. Arthur D. Murphy at Variety was one of the first to organize and chart that information and report it in a meaningful form. During the 1980s, Daily Variety started to publish a weekly chart of the domestic box office grosses of films as compared to the Top 50 chart in Variety which was based on a sample of key markets.

Gradually the focus of a film's performance became its box office gross rather than the rentals that Variety continued to report annually. Prior to the tracking of these grosses, domestic or worldwide box office grosses is not available for many earlier films so the only domestic or worldwide data available is still often the rental figures.

In 1984, EDI started to report Canadian grosses as well and by 1985 was reporting data for 15,000 screens. In 1987, EDI set up a database of box office information which included data on certain films back to 1970. By 1991, all U.S. studios had agreed to share their complete data reports with EDI. In 1990, EDI opened an office in the UK, moved into Germany in 1993 and Spain in 1995 reporting box office data for those markets.

EDI were acquired by ACNielsen Corporation in 1997 for $26 million and became Nielsen EDI.

In December 2009, with its acquisition of Nielsen EDI for $15 million, Measurement Company Rentrak became the sole provider of worldwide box office ticket sales revenue and attendance information which is used by many of the websites noted above.

Box office lists

For a list of films which are major box-office hits, see List of highest-grossing films. Films that are considered to have been very unsuccessful at the box office are called box office bombs or box office flops. For a list of these films, see List of box office bombs.

To determine if a movie made a profit, it is not correct to directly compare the box office gross with the production budget, because the movie theater keeps nearly half of the gross on average. The split varies from movie to movie, and the percentage for the distributor is generally higher in early weeks. Usually the distributor gets a percentage of the revenue after first deducting a "house allowance" or "house nut". It is also common that the distributor gets either a percentage of the gross revenue, or a higher percentage of the revenue after deducting the nut, whichever is larger. The distributor's share of the box office gross is often referred to as the "distributor rentals", especially for box office reporting of older films.

Related terminology

The following is film industry specific terminology as defined by Box Office Mojo. For films released in North America, box office figures are usually divided between domestic, meaning the United States and Canada, and foreign which includes all other countries. Weekly box office figures are taken to be from Friday through Thursday to allow for the fact that most films are released on a Friday. A large component of this is the weekend box office, defined as the box office receipts from Friday through Sunday. In particular, the weekend box office for the initial week of release, or opening weekend, is often widely reported. (See List of biggest opening weekends.)

Theaters is the number of theaters in which the movie is showing. Since a single theater may show a movie on multiple screens, the total number of screens is used as another measure. The theaters measure is used to determine whether a film is in wide release, meaning at least 600 theaters, or limited release which is less than 600 theaters. Occasionally, a film may achieve wide release after an initial limited release; Little Miss Sunshine is an example of this.

Gross refers to gross earnings. On average, the movie's distributor receives a little more than half of the final gross (often referred to as the rentals) with the remainder going to the exhibitor (i.e., Movie Theater).

Multiple is the ratio of a film's total gross to that of the opening weekend. A film that earns $20 million on its opening weekend and finishes with $80 million has a multiple of 4. From 2004 to 2014, films viewers graded as A+ on Cinema Score had a 4.8 multiple, while films graded as F had a 2.2 multiple.

References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Studio Binder, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Careers Hub, Screen Play Scripts, Elements of Cinema, Script Doctor, ASCAP, Film Independent, Any Possibility, CTLsites, NYFA, Future Learn, VOM Productions, Mad Studios, Rewire, DP School, Film Reference, DGA, IATSE, ASC, MPAA, HFPA, MPSE, CDG, AFI, Box Office Mojo, Rotten Tomatoes, Indie Film Hustle, The Numbers, Netflix, Vimeo, Instagram, Pinterest, Metacritic, Hulu, Reddit, Locations Hub,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Box Office / Photo Credit: Movie News Net