The pileup was created in part because studios want to capture some of the excitement surrounding "Avatar," the James Cameron epic released in December. At $2.4 billion in global ticket sales, it is the highest-grossing film ever. In addition to the novelty or richer experience that might drive more people to see a 3-D movie, tickets to 3-D movies also cost a few dollars more.
Around the time "Avatar" came out, Warner Bros. decided to convert a remake of "Clash of the Titans" from 2-D to 3-D and push its release back a week, to April 2.
That will be the third 3-D movie to hit the market in a short span. DreamWorks Animation SKG Inc.'s "How to Train Your Dragon" comes out a week earlier, and The Walt Disney Co.'s "Alice in Wonderland" hits theaters March 5. And "Avatar" might still be playing in some places too.
But a limited number of theaters can show these movies in 3-D, because not all theater owners have bought new digital projectors and undertaken other upgrades necessary to show movies in the format. About 3,900 to 4,000 3-D-ready screens are expected to be available in the U.S. and Canada by the end of March. Typically a movie in wide release might be shown on 3,000 to 10,000 screens in North America.
In the past, a smaller number of 3-D-capable screens was adequate when one major film at a time was being released in 3-D in addition to 2-D. Each movie had a longer run, and moviegoers who wanted to see it in 3-D could pick a convenient time to go.
With three out at once, each will get less exposure because some theaters with only one or two 3-D screens will have to choose which movies to show in 3-D.
"One or all three are going to suffer in some way," said Patrick Corcoran, director of media and research for the National Association of Theatre Owners. "It makes it a much harder decision on exhibitors on what to keep or what to drop or what to add and probably should have been avoided."
Scheiro Deligne on 27 Feb 10Après s'être concentrée pendant plusieurs années sur le paysage de déserts, Catherine Gfeller choisit New York pour se tourner vers le paysage urbain; Elle crée de longues "Frises urbaines" dans des compositions soit horizontales soit verticales. Obternues par montages, collages et superpositons d'images, elles recréent un univers urbain à la fois proche et éloigné de la réalité de New York. Puis elle s'installe à Paris et crée de larges ensembles qui mêlent éléments architecturaux et personnages. Récemment Cather!ine Gfeller explore la vidéo et le son pour traiter de sujets plus personnels. Ses dernières pièces (installations vidéos, installations sonores et projections) sont de véritables univers romanesques: en mélangeant les données autobiographiques et fictionnelles, il s'agit dès lors d'évoquer la vie intérieure de personnages proches de nous aux prises avec leur quotidien ou en interaction avec le défilement de la ville. Depuis 1988 Catherine Gfeller a exposé ses travaux au Canada, aux Etats-Unis, en Israël, en Argentine, au Chili, en Angleterre, en Allemagne, en Belgique, en France, en Hollande, en Italie, en Slovénie et en Suisse, où ses oeuvres se trouvent dans de nombreuses collections publiques et privées. Elle participe régulièrement aux foires d'art contemporain comme Art Basel, Art Unlimited, Kunst Zurich, Armory Show, la Fiac, la Biennale de Ljubjana et Art Bruxelles.
