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Unlike films made for the silver screen, an internet film doesn’t need to contain something for everyone

But the internet is different. As viewers are watching alone, films can be made exclusively for certain fanbases and still be confident of finding an audience.

in the eyes of a conservative family, the company should stand for wholesome entertainment, but to a 20-year-old city-dwelling college graduate, it should be more edgy. It’s unlikely these two demographics would go to the cinema together, while they almost certainly won’t be streaming the same content.

a new generation of even more ambitious theaters — possibly even including cinema's first holodeck — is waiting in the wings.

The first Escape theaters — which will include the Cinemark 18 & XD at the Promenade at the Howard Hughes Center in Los Angeles — will open Sept. 19, showing a special edition of Fox's new young adult thriller The Maze Runner

Escape theaters showing The Maze Runner will project the live-action movie on to the center screen, and the side screens will feature additional visual effects

According to the National Association of Theatre Owners, US movie attendance peaked in 2002 and has been steadily declining ever since. To compensate, theatres have rolled out new technologies such as 3D, Imax and premium large-format cinemas, raising their ticket prices and thus keeping the box office at record-breaking levels

The majority of us are increasingly staying home.

At Cannes this year, the studio with the most films in competition

Merging SEGA technology and BBC Earth content, the new attraction takes visitors on a multi-sensory journey to explore animals and nature through sight, smell, touch and sound.

The venue includes one of Japan’s largest screens (131 ft W x 26 ft H) with remarkable visual and sonic resolution and 12 separate walk-through entertainment zones

evolve into large-scale public attractions becoming urban theme parks, where cinema is only part of the experience

The technology has changed but the basics of the job haven’t. It is still about storytelling, about juxtaposing images, about creating a feeling with images and music. Only the technical details have changed

I think there will be movie thea­ters in 1,000 years. People want the group experience, the sense of going out and participating in a film together

I think it will be standard in 4 years, not 40. We will have a glasses-free technology in five years at home and three years for laptops. The limiting factor is going to be content. You can’t rely on a few films a year for this. It is going to have to be 3-D broadcast sports, scripted television, non-scripted television and reality television

With huge-flat screen TVs becoming more affordable — and more original TV content being produced — cinemas have to step up their game to keep pace in the arms race with home theaters. That’s why theater chains are coming out with better food, reclining chairs, and more supersized screens like Imax to take full advantage of the special effects in many tentpole blockbusters.

The theater, which opens to the public Friday night, now has a lobby that’s part of the show (and soon, a camera-based audience data gathering tool to go with it), and a cinema equipped with the showpiece Barco Escape, which combines three screens in a U-shaped pattern that gives the viewer almost a cockpit-type perspective of the action.

“The Maze Runner” and its sequel, “Maze Runner: Scorch Trials,” were the first — and only — two films with scenes optimized for Barco Escape, but with dozens of Imax films coming out every year, there needs to be a much broader pipeline of content to compete with other large format

Given Imax receipts typically account for about 10 percent of the average tentpole's box office, studios and top filmmakers frequently shift their release dates to land a big-screen berth

Looking forward, the company is making a big push into virtual reality, partnering with Google on a camera, and will launch its first VR space in Los Angeles this year. On the content front, Michael Bay is in talks to create original VR content for Imax

Any regrets about partnering with Netflix to release the low-grossing Crouching Tiger 2? I have no regrets about experimenting because, especially with the windows changing distribution patterns, with digital distribution and over‑the‑top alternatives evolving quickly, the industry is going to have to experiment and learn.

Государство выделит 2,2 млрд руб. до конца 2016 г. на обустройство кинозалов в малых городах с населением до 100 000 человек, сообщил министр культуры Владимир Мединский

Сейчас в малых городах работает около 500 кинозалов, рассказал Мединский. Он рассчитывает, что государственные субсидии помогут удвоить это количество

Это безвозвратные деньги, они могут быть потрачены на закупку, транспортировку и установку оборудования для кинозалов (экран, проекторы, кресла и т. д.), но не на ремонт или строительство; на каждый зал может быть потрачено не более 5 млн руб

Правительство вновь проработает вопрос о сборах с кинотеатров (в том числе с онлайн-кинотеатров) и телеканалов в пользу отечественных кинокомпаний.

Белоусов ссылается на идею Министерства культуры собирать для дополнительной поддержки отечественной кинематографии 3% с доходов кинотеатров и 0,5% доходов с онлайн-кинотеатров и телеканалов, которые показывают фильмы

Получателем средств предлагается назначить государственный Фонд кино.

By Obsessing Over the Present, Big Media has Forgotten its Past and Endangered its Future (But it’s Not Too Late)

When it comes to digital-era investments, Disney has certainly been the most active of the major media companies (though IP represents more than 80% of total outlays). Over the past decade, the House of Mouse has bought the largest YouTube Multi-Channel Network (Maker Studios), a mobile gaming company (Playdom), several multi-media storytelling platforms (Marvel, LucasArts, Pixar), become Vice’s largest outside shareholder, doubled down on technology-driven theme park experiences (MagicBand, VR), established an annual fan expo (D23), formed an accelerator program with TechStars (Disney Accelerator) and launched an ever-expanding sandbox video game at the cost of more than $125M (Disney Infinity)

For the past 20 years, television networks have reaped more than $1T inflation adjusted revenues and $300B in net cash flow thanks to what was sown throughout the 1980s and early 1990s (most cable networks took years to hit cumulative net profits, with several market leaders accumulating hundreds of millions in losses doing so). But the harvest is coming to an end. Crop rotation is not a waste; it’s an essential investment in forward productivity.

“When the zeitgeist is moving, art usually goes hand-in-hand with it,” says Rossin, describing a world in which we’re constantly glued to our iPhones, Androids, laptops, and tablets as much if not more than we are to the faces of fellow humans. Mediums have historically risen from the predominant technology and social relations of the time in which they exist

“Because of the level of sensory overload we experience on a day-to-day basis, we need to have this fully arresting experience in virtual reality in order to get a total sense of vertigo from a work of art,”

Enveloping, consciousness-bending experiences aren’t “just to escape life,” says Rafman. “But to create a total experience that will create a feeling that is qualitatively new. That is ultimately the most radical thing.”