披肩
发表于 2025-3-25 05:00:54
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有特色
发表于 2025-3-25 09:31:52
From Multiplex to Megaplexes in exhibition. Hanson sets these developments firstly in the context of the rise in the number of cinema admissions throughout the 1990s to peak in 2002; and secondly in the context of a decline from then on as steaming services such as Netflix and the decline in the shopping mall challenge the place of cinema.
OGLE
发表于 2025-3-25 11:51:45
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Dappled
发表于 2025-3-25 19:29:40
The Multiplex in Belgium, the Netherlands, and Scandinaviaenetration of US exhibitors was marginal or non-existent—Belgium, Norway, and Sweden. Hanson also details the emergence of a series of domestic multiplex exhibitors such as Kinepolis, Pathé, Sandrews, Metronome, Svensk Filmindustri, Nordisk Film, and the Nordic Cinema Group.
为现场
发表于 2025-3-25 21:47:50
The Multiplex in Germany and Francey; and secondly, France, in which the penetration of US exhibitors was, with the exception of one site, non-existent. Chapter . also considers the exhibition landscape historically in these two countries, both of which were some way behind countries like Belgium, Sweden, and Britain in their adoption of the multiplex.
巧办法
发表于 2025-3-26 03:17:16
The Multiplex in Japan, South Korea, and China entrants, though all have exited the market subsequently, leaving it to domestic exhibitors. Finally, China is both the fastest growing film market in the world and one of the most complex to do business in and with.
Rotator-Cuff
发表于 2025-3-26 05:49:11
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秘密会议
发表于 2025-3-26 10:05:48
Conclusion: The Multiplex as a Global Formelationship to new kinds of retailing and leisure, centred on the shopping mall. Finally, Hanson argues that whilst challenged by new streaming services, the multiplex offers the possibility of the resilience of cinema as an important form of film consumption.
走调
发表于 2025-3-26 13:32:42
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向外才掩饰
发表于 2025-3-26 18:46:25
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