The landmark cinema of south London – Ritzy is one of the oldest purpose-built cinemas that operate up until today. The venue began its life in 1911 under the name Electric Pavilion. It was a silent cinema, equipped with organs and moved to sound in 1929. Through its long history it had many name and owner changes, survived the Blitz and Brixton riots, faced demolition and today is a bustling, cultural venue of Brixton. In late 1970s Ritzy even operated as porn cinema before it closed down and was left forlorn. After a two year period of abandonment, a local film editor and cinema enthusiast Pat Foster decided to take action to rescue the cinema. When the necessary financial resources and the co-workers’ team where gathered, the venue reopened in 1978 under the name The Little Bit Ritzy. That initiated the cinema’s heyday as a politically and culturally bold art house. Alongside the diverse repertory programming, Little Bit Ritzy was also committed to screening more radical content with left-wing agenda, LGBT, feminist’s issues, equal rights, environmental matters and …show more content…
Things like pop-up screens, Secret Cinema, hot tub or pillow cinemas are on the rise. Ritzy embraces this trend entirely. In house through preparing deals such as bottomless brunch or theme events combined with film screenings and through adding sixth screen – Pop Ritzy. Pop Ritzy is located nearby the cinema in a shipping container and is a venue for alternative screenings – from local artists’ works to classic films with live music. Ritzy’s manager James van Dyke stresses the venue’s transformation to an important cultural hub of Brixton that with its broad offer of events and facilities is targeting not only cinema goers. The new term that is applicable to how Ritzy operates nowadays is “Cultureplex” meaning it is something more than a cinema – a multidisciplinary facility, event and art space all in
The cinema as a form of leisure was not new to British society, and indeed most western industrialised societies, during the interwar era. Prior to World War One it was not much more than a 'technical curiosity', but by the 1920s it was the 'new medium' and one that was a 'fully fledged form of art'. (Taylor 1970 p, 180) Throughout most of the 1920s, films shown in cinemas around the world were 'silent'. While silent films were not new to this era, the popularity of them experienced a 'new' and unique interest amongst the general public. Indeed, Vile Bodies highlights the popularity of the cinema and in particular, the 'silent' film as a regularly experienced leisure activity. Waugh's character, Colonel Blount, is the most obvious representation of the popular interest of films and film making at the time Vile Bodies was written. He tells Adam, after asking his interest in the cinema, that he and the Rector went 'a great deal' to the 'Electra Palace'. (Waugh 1930 p, 59)
Theatres and How We Had Fun." Little, Brown, and Company. (Boston, Toronto, London); 1991. P. 139, 144.
Due to the fact that the case study explains how Tonya was retained in kindergarten, I would be comfortable saying Tonya is somewhere in the age grouping of seven or eight years old, making her fit into the middle childhood stage. I feel in some way that Tonya is more mature for her age. She has to get up to take care of her brother, which obviously means she is getting herself ready in the morning for school. Tonya’s social-emotional development fits more for a child in their early adolescent stage. Since the teacher explains, “Tonya challenged my patience, professionalism, and decision making” (McDevitt & Ormrod, 2010, pp. 3). This type of development is primarily shown in the grouping of ten to fourteen years of age. Tonya’s aggression may be because some children show poor behaviors towards peers that are unacceptable (McDevitt & Ormrod, 2010). This is typical for children in her age group even if it is only a small percentage.
BIBLIOGRAPHY An Introduction to Film Studies Jill Nelmes (ed.) Routledge 1996 Anatomy of Film Bernard H. Dick St. Martins Press 1998 Key Concepts in Cinema Studies Susan Hayward Routledge 1996 Teach Yourself Film Studies Warren Buckland Hodder & Stoughton 1998 Interpreting the Moving Image Noel Carroll Cambridge University Press 1998 The Cinema Book Pam Cook (ed.) BFI 1985 FILMOGRAPHY All That Heaven Allows Dir. Douglas Sirk Universal 1955 Being There Dir. Hal Ashby 1979
Small, Pauline. (2005) New Cinemas: journal of Contemporary Film Volume 3, Queen Mary, University of London
The Australian Film Industry has been around since October 1896. The first full length feature film, in 1906 was ‘The Story of the Kelly Gang’. Australian Cinema has only become a much larger industry in like past 10 years with ‘Sanctum’ being Australia’s 10th largest film in the US Box Office history with its exceptional 3D technology and exquisite photography. ‘The Sapphires’ which also had a strong impact on Australian viewers did not reach the capacity of gross making in the US Box Office. The Australian Film Industry has become in crisis because without the Australian movies having an impact on the Australian viewers as a minimum, the money used to make the film will not have profited from the tickets bought to see the actual movie. In this essay I will explain how ‘Sanctum’ and ‘The Sapphires’ can be used in reference to the Australian Film Industry crisis and reason’s for how and why the Australian Film Industry has hit a crisis in film making.
Handy Andy, Inc., a maker of trash compactors, had a problem with how the distribution of their products was being done by distributors and retailers alike. The company made two models of trash compactors the standard and the deluxe, the latter having more capacity thus a higher price. The distribution of the trash compactor to the end user worked like this, a customer makes an order for a trash compactor through a licensed retailer, once the order is made the retailer buys from the distributor to fulfil that order and then delivers it to the customer. The initial agreement between Handy Andy Inc. and the distributors was based on delivering and installing all units in a period of 5 days after an order was made by a retailer, as compensation
ZZZZ Best was founded in 1982, by Barry Minkow who was 16 at the time. ZZZZ Best was a carpet cleaning business that was operated by going door-to-door. The business operated out of San Fernando Valley, Southern California in his parent’s garage. The business experienced drastic growth the first three years, bringing an income of no less than $200,000 however no more than $5 million. Prior to going public, ZZZZ Best experienced many struggles such as complaining customers, bank account closures, and bad checks. Therefore, in 1986, ZZZZ Best went public, the owner and his associates were millionaires immediately. Due to Barry’s immediate success he was sought after by many television networks. He appeared on Oprah and many other famous television shows. He sent a message to people that “the sky was the limit” and they could achieve anything. He was an attractive man and very charming. About two years after his appearance on Oprah, Barry was in prison serving a 25 year sentence, he was found guilty on 57 charges of security fraud. Once he was exposed, he was viewed as a fast talking swindler who took people’s money. Barry used his extensive social background to get what he wanted. He realized that his social connection could be used to his advantage. Many of his social connections came from the Los Angeles health club. One of his acquaintances, Tom Paige in particular was a claim’s adjuster, he came up with a scheme to use his relationship to his advantage. Barry created fraudulent insurance contracts to have proof of profit on paper to convince bankers to lend him money. Once he obtained loans he began to expand his business in Southern California. He used his falsified financial statements to attract wealthy indiv...
Biner, Pierre. The Living Theater. Takin' It To The Streets: A Sixties Reader, pp. 288-293. ed. Alexander Bloom and Wini Breines.
Watching a movie in the 1920s was a cheap and easy way to be transported into a world of glitz and glamour, a world of crime, or a world of magic and mystery. Some of these worlds included aspects of current events, like war, crime, and advances in technology; while others were completely fictional mysteries, romances, and comedies. Heartbreakers, heartthrobs, comedians and beautiful women dominated movie screens across the country in theaters, called Nickelodeons. Nickelodeons were very basic and small theaters which later transformed into opulent and monumental palaces. When sound was introduced into film by Warner Bros. Pictures, “talkies” took top rank over silent films. “Movies were an art form that had universal appeal. Their essence was entertainment; their success, financial and otherwise, was huge” (1920-30, 3/19/11). Films offered an escape from the troubles of everyday life in the 20s, and moviegoers across the country all shared a universal language: watching movies.
Sunset Boulevard directed by Billy Wilder in 1950 is based on how Norma Desmond, a huge Hollywood star, deals with her fall from fame. The film explores the fantasy world in which Norma is living in and the complex relationship between her and small time writer Joe Gillis, which leads to his death. Sunset Boulevard is seen as lifting the ‘face’ of the Hollywood Studio System to reveal the truth behind the organisation. During the time the film was released in the 1950s and 60s, audiences started to see the demise of Hollywood as cinema going began to decline and the fierce competition of television almost proved too much for the well established system. Throughout this essay I will discuss how Sunset Boulevard represents the Hollywood Studio System, as well as exploring post war literature giving reasons as to why the system began to crumble.
It was not until the mid 1930s that the brutish dictator truly recognized the potential power of media, where in 1935 a special funding was given to the production of Italian films which was used to open up film institutions like the ‘Centro Sperimenale di Cinematografia’ (CSC) film school, and ‘Cinecitta’ (Cinema City) studios in 1937 (Ruberto and Wilson, 2007). The development of these institutions sparked the appearance of early sound cinema, specializing in genres such as comedies, melodramas, musicals and historical films, but were all categorized as ‘propaganda’ and ‘white telephone’ films by many critics due...
In the seventies, we could do anything. It was the rainbow coalition, anti-Vietnam, all of those elements. And then we morphed over to where it became extremely straight-laced and non-risk taking. I think we are beginning to take risks again but within those societal norms.” Theatre only goes so far as society will allow it, as showcased by the Conservatory and it being influenced by the culture surrounding it. The mirror that is theatre reflects a culture and what it may want or not want to know, depending on how far it is allowed to
Nevertheless, the question at hand is whether theatre will have a role in the society of the future, where cinema, digital television, and computers will continue to expand and grow. The answer to this question is yes. Heading into the 21st century, theatre will only be a fraction in a solid media industry. However, despite all the excitement technology brings with it, they will never replace theatre because it has something that can not be recreated or offered anywhere else. The cinema and its larger than life world appeals as an affordable alternative. Digital television provides digital interaction between the viewer and the producer. Theatre on the other hand, and its contents may take on a larger dimension, but we receive it directly in flesh and blood – one to one. The magical atmosphere between an actor and spectator who are constantly aware of each other and the theatre’s level of engagement is fundamentally more human and far more intimate.
The aim of this research is to explore cinema audience's, festival goers' and workers in cinema views and experiences of film festivals, trying to understand what values they give to them and trying to figure out if they believe that in difficult times, such as the one we are living through, a film exhibition is still necessary.