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Contents contributed and discussions participated by Maria Gurova

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Maria Gurova

Trunk Club Would Like You To Dress Better, Increase Your "Style Aptitude," Have More Se... - 1 views

www.fastcompany.com/...r-style-aptitude-have-more-sex

personalisation customization on demand DCP clothing Social social networks wardrobe management maker movement Economy e-commerce

shared by Maria Gurova on 01 Jul 16 - No Cached
  • ay you’re a time-starved man with a hankering to dress better. Just sign up on Trunk Club, one of whose style experts will call or email you shortly after to talk about your vision for your wardrobe. A few days later, a bemused FedEx employee shows up at your door bearing a trademark "trunk" (made of cardboard), which contains 10 or so items of clothing.
  • Finding someone who knows style is less important than finding someone who understands sales and relationship management
  • We have between 40 and 50 now, and 90% are women. They tend to have a background that includes sales, but rarely retail.
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  • Hey, is it cool if I friend you on Facebook to see what you do, and what you like?" It’s a powerful tool to help us get the right clothes your way
Maria Gurova

MoviePass, The Sequel: Quest To Become The Netflix Of The Big Screen Continues | Fast C... - 1 views

www.fastcompany.com/...e-netflix-big-screen-continues

Technology Theatrical on demand Subscription exhibotirs Movie Pass moviegoing Netflix

shared by Maria Gurova on 01 Jul 16 - No Cached
  • MoviePass, which opens up to 75,000 wait-listed users today, is an invite-only subscription-based service that lets you pay between $19.99 and $34.99 a month to watch up to one in-theater movie per day
  • Unlike Netflix viewership, theatrical attendance tends to heavily peak twice a year, during Oscars season and the summer blockbusters.
  • Spikes says this demographic is also more likely to drive post-theater purchases, such as DVDs, soundtracks, and branded merchandise. To that end, he says MoviePass will be exploring options to offer these items through its service in the future
  • Maria Gurova on 01 Jul 16
     
    Movie Pass is the new service that allows you to visit any theater that accepts credit card for free as long as you pay pricey annual subscription fee
Maria Gurova

'Snowpiercer's' VOD gamble is paying off | EW.com - 0 views

www.ew.com/...snowpiercer-vod-box-office

Theatrical Economy windowing strategy screen fights

shared by Maria Gurova on 08 Jun 16 - No Cached
  • distributors are usually loathe to discuss VOD specifics publicly. When consumers are used to seeing $60 to $100 million opening weekends for major blockbusters in wide release, VOD numbers, no matter how “good,” look miniscule in comparison. Add on the fact that Snowpiercer is the widest multi-platform release ever, and the tricky exercise of figuring out how to combine theatrical earnings with weekend estimates from digital and cable providers, and the territory gets even more unfamiliar.
  • Snowpiercer earning an estimated $1.1 million from VOD this past weekend, nearly twice as much as the $635,000 it earned in theaters. “From a layman’s perspective these numbers are possibly not that interesting,” admits RADiUS-TWC co-president Tom Quinn. “But from an industry perspective, it’s a game changer.”
  • VOD is both cheaper and more profitable. “That $1.1 million gross is actually worth almost double to me in terms of how it nets out in our bottom line,”
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  • VOD—with access to 85 million homes—doesn’t have the same drastic theatrical drop-offs from week to week.
  • Still, a two-week theatrical exclusive is an extremely short window, especially since Snowpiercer opened in only eight theaters and is currently showing at a mere 356 locations
  • “This is completely uncharted territory but it’s 100 percent within the consumer’s control how you want to see this film,”
Maria Gurova

The Public Costs of Private Distribution Strategies: Content Release Windows as Negativ... - 0 views

www.project-disco.org/...dows-as-negative-externalities

Theatrical windowing strategy Political policy legal Copyright content production piracy Pirates don't Surrender

shared by Maria Gurova on 08 Jun 16 - No Cached
  • “copyright extremism” – a term he used to describe extended delays in content distribution, which often result in content reaching foreign markets months after it is released in the United States.
  • Essentially, “extremism” is another way of saying that piracy is more a business model problem than a policy problem. 
  • The strategy of windowing has long been practiced because it is believed to maximize revenue opportunities for a given film.  By giving successive distribution channels exclusive rights to the work, a film distributor aims to extract maximum revenues from licensees in each channel.
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  • Even if film distributors were to reject the conventional wisdom of windowing, those windows are jealously guarded by their respective sectors.  The theatrical exhibition window is particularly so
  • announced in September 2014 that they would distribute a sequel to the 2000 hit Crouching Tiger, Hidden Dragon simultaneously via Netflix and IMAX theaters worldwide, movie theater chains swiftly circled the wagons and announced a boycott of the Weinsteins’ film.
  • “value of ownership for the consumer” is a euphemism for “consumer willingness-to-pay.”  The longer a consumer must wait before they can watch a movie on their Netflix subscription, the likelier that consumer is to pay for a DVD
  • numerous industries have attempted to insulate themselves from disruption by persuading lawmakers to prescribe their exclusive industrial role in public laws, including auto dealers and beer distributors
  • windowing has been widely criticized as contributing to piracy, and “leaving money on the table.”  Empirical evidence bears that out.  Content producers are not unaware of this data; their calculus is that the revenues attributable to aggressive windowing (and avoiding friction with their distributors) exceed losses associated with piracy.
  • Windowing alienates consumers and arguably undermines respect for copyright in countries that receive content late
  • In the content distribution example, compensation might involve repayment for government resources expended on attributable piracy, perhaps based on a user-fee model that various government agencies already have.  If the windowed release distribution model generated more revenue than the costs it incurs, it would continue, taxpayers would be made whole, and the externality would be “internalized.”
Maria Gurova

Imax's Richard Gelfond on Virtual Reality, Woody Allen and Reservations Over Netflix - ... - 0 views

www.hollywoodreporter.com/...gelfond-virtual-reality-898136

Theatrical Technology IMAX premium format Netflix non-conventional content in cinema In-Theatre Experience The Screening Room windowing strategy screen fights VR Immersive Experience content production

shared by Maria Gurova on 03 Jun 16 - No Cached
  • 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.
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  • If someone came to us and said, "Would you launch a TV series in Imax day-and-date?", that's definitely something we would consider
  • We have over 300 theaters open; we have over 200 theaters in backlog [where a theater has been approved and the space designated, but it hasn't been built yet]. We just announced a 10‑theater deal.
  • Wanda, which accounts for the largest number of Imax screens in China, has its own giant-screen technology. Worried? I'm not very worried.
  • If the public wants an experience that's better than a standard 35mm but not as good as an Imax, there's a category they fit in.
  • In 2015, you announced the creation of the Imax China Film Fund to invest in Chinese tentpoles.
  • We can leverage those relationships, plus the Imax technology, plus the Imax release windows, and create value by investing in the right films.
  • We could get into original programming, but we're not going to be a small participant in a $200 million movie. Could I see there being a $10 million or $20 million film that is with an Imax filmmaker who loves Imax and plays well to the Imax audience and has the right ancillary distribution afterward? Yes. That's something we're exploring.
Maria Gurova

Future of Film: Even Bigger Screens and, Yep, Cinema Selfies - Hollywood Reporter - 0 views

www.hollywoodreporter.com/...film-bigger-screens-yep-728426

Theatrical Technology cinema screen fights Immersive Experience 3D 360-degree video adjustable entertainment Adaptive Storytelling interactive Barco Escape panoramic screen non-conventional content in cinema

shared by Maria Gurova on 03 Jun 16 - No Cached
  • 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
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  • "We believe entertainment needs to continue to evolve with a more immersive experience,"
  • Movie screens will continue to morph into ever-wider configurations
  • That footage will be shown in a special 360-degree OmniCam theater installation planned for the FIFA World Football Museum in Zurich. Meanwhile, startup Jaunt is developing a 360-degree camera for use in virtual reality
  • High-tech interactivity also may play a role in the next generation of theaters.
  • They would include a theater where a 3D movie is projected onto a 360-degree dome-shaped screen and real-time facial replacement would be used to project audience members into the action
  • "You'd have a wristband that identifies who you are, and if you elect to, your body and face can be scanned, allowing the attractions to include you in them and allow you to interact with them
Maria Gurova

The Movie Theater of the Future Will Be In Your Mind | Tribeca - 1 views

tribecafilm.com/...-movie-theater-is-in-your-mind

Theatrical Technology Immersive Experience entertainment multy-sensory experience neuroscience adjustable entertainment Adaptive Storytelling Storytelling Digital vs Physical blured reality

shared by Maria Gurova on 03 Jun 16 - No Cached
  • 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
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  • The merging of real and projected worlds will produce a seamless experience – a complete illusion of being part of a film.
  • A truly dramatic change will come once scientists discover a way to manipulate senses directly through the brain. That is when cinema will quite literally start to merge and replace real life
  • One will be able to choose between real-life exploration or a fictional quest with chosen characters. Since memories will be recorded, one would be able to include anyone they have ever encountered, including favorite celebrities or fictional heroes.
  • Just as 3D films are only exciting for the first few minutes, characters, events and conflicts will continue to drive cinema of the future.
Maria Gurova

AMC Could Allow Moviegoers to Use Cellphones Inside Theaters to Appeal to Millennials - 2 views

mic.com/...aters-to-appeal-to-millennials

Theatrical devices second screen In-Theatre Experience Millennials My Smartphone My Precious AMC Theatres

shared by Maria Gurova on 02 Jun 16 - No Cached
  • AMC Theaters issued a statement on Twitter saying that due to the negative response, it will not proceed with the plan to allow cellphones inside its theaters: "With your advice in hand, there will be NO TEXTING ALLOWED in any of the auditoriums at AMC Theaters. Not today, not tomorrow and not in the foreseeable future."
  • "When you tell a 22-year-old to turn off the phone, don't ruin the movie, they hear 'please cut off your left arm above the elbow,'" Aron told Variety. "You can't tell a 22-year-old to turn off their cellphone. That's not how they live their life ...
  • and one way would be taking "specific auditoriums and make them more texting friendly." 
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  • "Given that so many of today's moviegoers are passionate about preserving the purity of watching movies undisturbed in our theatres, there is no specific timeframe as to when we might introduce such a test, if ever,"
  • Maria Gurova on 02 Jun 16
     
    in the attempt to satisfy Millennial consumer AMC tried to allow texting and using the smartphones during shows. Twitter reaction was outrageous and they have changed their mind, but say that they might reconsider this policy in the future or maybe not
Maria Gurova

The Future Of Cinematic Pleasure: 3D Movies & Beyond - Hongkiat - 1 views

www.hongkiat.com/...future-of-3d-movies

Theatrical 3D 4D screen fights premium format Visual Spectacular Smell-O-Vision Technology multi-sensory exprience

shared by Maria Gurova on 02 Jun 16 - No Cached
  • Non-intrusiveness aside, another reason why the idea of not having to wear special 3D movie glasses is so welcomed is because we want to see images in 3D with our naked eyes (or with our glasses or contacts) where we just don’t feel “artificial”.
  • we would naturally be more intrigued by otherworldly universes which we don’t encounter in our daily lives, and thus crave to experience them in their fullest glory (i.e. in 3D or 4D).
  • “Otherworldly” here applies to the many computer-animated, Sci-Fi and any other movies where their settings are not what you see every day (e.g. Titanic and Avatar
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  • physiological arousal: eliciting moviegoers’ “fight or flight” responses. This is the same adrenaline rush we crave whenever we watch horror films to give ourselves a good scare.
  • Optimistically speaking, 4D films should have much more potential within and opportunities to exploit since they have the other four senses to pick and augment on
Maria Gurova

From Netflix to full immersion: how the future of cinema lies in our handhelds | Film |... - 2 views

www.theguardian.com/...vod-streaming-future-of-cinema

Theatrical Technology entertainment immersion Immersive Experience 360-degree video Storytelling VR in-home vs in-theatre In-Theatre Experience interactive screen fights fly-off-the-wall-film-making Netflix premium format IMAX

shared by Maria Gurova on 02 Jun 16 - No Cached
  • 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.
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  • Cinemas probably aren’t going to die out any time soon, but they may well host different kinds of films than laptops and phones in the near future.
  • Netflix’s chief content officer is open about this, saying that watching a movie online is like seeing a sports game broadcast on TV rather than being at the stadium
  • A distinctive form of film is also emerging on phones: 360-degree movies were developed by Google
  • When you watch it, you realise that this software blurs the boundary between films and games: although, strictly speaking, you are not playing anything; you are participating in the experience.
  • The technology gets really interesting when it comes to documentaries. Director Chris Milk has used virtual reality to make films about a refugee camp in Jordan and a mass protest in New York.
  • Fundamentally, this is taking out the middle man in that process, and making you feel as if you were actually there.
  • Call it fly-off-the-wall film-making
  • traditionally it is the director’s job to tell the audience what to look at, in this approach directors don’t exist, only “creators”
Maria Gurova

Is it curtains for the big screen? - FT.com - 1 views

next.ft.com/...e8-1c1c-11e6-a7bc-ee846770ec15

Theatrical entertainment in-home vs in-theatre screen fights The Screening Room premium formats windowing strategy Pause pushers tentpole strategy blockbuster

shared by Maria Gurova on 01 Jun 16 - No Cached
  • 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
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  • was not one of the big studios, but the streaming service Amazon.
  • But blockbusters have a design flaw: their marketing costs are enormous — opening a movie typically costs anywhere from $20m — and they spend less and less time in cinemas. To take a recent example, ticket sales for Batman v Superman: Dawn of Justice dropped by an astonishing 68.4 per cent on its second weekend
  • “What you’re going to end up with is fewer theatres,” George Lucas said during a panel at the University of Southern California in 2013. “Bigger theatres, with a lot of nice things. Going to the movies is going to cost you 50 bucks, maybe 100.”
  • “Fifty per cent of Americans did not step into a movie theatre last year, and of the 50 per cent that did go into a theatre, 95 per cent of them went to one or two films,”
  • He argued that a film will come out in cinemas for 17 days — three weekends — which is where 98 per cent of films make 95 per cent of their revenues anyway. On the 18th day, the film will be available everywhere and you will pay for the size: a movie screen will be $15, a 75-inch TV will be $4, a smartphone will be $1.99.
  • Arguably, it’s more visual than television. It has our full attention: each frame must pull its weight in terms of narrative and spectacle. That is why it is a director’s medium: it envelops us. TV comes to us, into our homes, casual, familiar, favouring habit-forming episodic narratives. That is why it is a writer’s medium. The big screen glamorises — its stars are the stuff of myth; the small screen is more like a member of the family
  • And something like The Avengers, it’s too much fun laughing with the audience. These things are communal experiences.
  • But then many film-makers would argue that movies should be consumed differently from music: a song is a song wherever you play it, whereas films were built for the big screen.
  • “I don’t think that experience is going to die,” says Obst, “although I do worry that eventually we will all be inside on our huge computer screens, watching all of the different types of entertainment together
  • Nothing breaks the spell of the movie more instantly than the pause button.
Maria Gurova

James Cameron on the Future of Cinema | 40th Anniversary | Smithsonian - 1 views

www.smithsonianmag.com/...on-the-future-of-cinema-983659

Theatrical Technology entertainment moviegoing content production talent Storytelling

shared by Maria Gurova on 01 Jun 16 - No Cached
  • 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
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  • Hollywood is also the place for filmmakers who want to make movies for a global market. China and Russia make films for their own markets, but I don’t see the likelihood of those places replacing Hollywood
  • Maria Gurova on 01 Jun 16
     
    James Cameron believes that despite of exciting new technology - making movie is and will always be about the story. also he is certain that going to watch a movie together is a shared group experience that audience will still be looking for in the future, no mater how advance the in-home technology will be
Maria Gurova

The Movie Theater Of The Future Is All About Big Screens And Big Data - 2 views

www.ibtimes.com/t-big-screens-big-data-2347076

Theatrical Technology Economy infrastructure devices screen In-Theatre Experience big data Barco Escape IMAX premium format

shared by Maria Gurova on 01 Jun 16 - No Cached
  • 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
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  • Hoddick said he wants to develop three additional films this year, then eight in 2017 and then 12 a year after that
  • The Barco Escape costs exhibitors $100,000 with an additional fee per movie.
  • there are currently 21 Barco Escape theaters in the world — 16 in the United States, two each in Europe and China, and one in Mexico.
  • the plan is to have more than 100 by the end of this year, and 1,000 within three to five years. Oh, and they want an additional 1,000 just in China, soon to be the world’s biggest movie market — and one where Imax is in the process of opening hundreds of its own screens
  • Hoddick said while Barco Escape is only for 2D films at this point, he imagines it’s only a matter of time before 3D comes to the platform
  • it’s currently about 4 percent more expensive to produce a movie for Barco Escape, because the work has to happen in post-production, Hoddick said new cameras from manufacturers including Sony that can film in the 7:1 aspect ratio necessary for the medium will slash costs significantly
  • the theater will soon install a camera-based surveillance system to analyze demographics and customize which “lobby dominations” go live — think superhero trailers going up when a crew of high school kids walks in
Maria Gurova

В Сочи появится международный кинофестиваль: Кино: Культура: Lenta.ru - 2 views

lenta.ru/...sochifest

Theatrical Local vs global content content production Political Economy

shared by Maria Gurova on 01 Jun 16 - No Cached
  • Первый Сочинский международный кинофестиваль пройдет в декабре 2016-го. Презентация киносмотра прошла в Российском павильоне на Каннском фестивале
  • Организаторами фестиваля станут поэт и сценарист Любовь Балагова, а также режиссер и продюсер Мохи Кандур. Международными партнерами нового киносмотра выступают Британский киноинститут (BFI) и лондонский Raindance Film Festival
  • По словам организаторов, для проведения мероприятия будут задействованы объекты, построенные к Олимпийским играм 2014 года в Сочи. У киносмотра будет несколько конкурсных программ, включая секции короткометражного и документального кино.
Maria Gurova

Президент России - 2 views

special.kremlin.ru/...51690

Theatrical Economy Political Protectionism content production State Funding Infrustructure Development Local vs global content Local is King

shared by Maria Gurova on 01 Jun 16 - No Cached
  • В 2012 году доля российского кино [в прокате] составляла 16 процентов. Нам удалось за три года поднять её до 18 процентов
  • Это ключевой показатель эффективности отрасли. Наша цель, которую мы ставим на 2018 год, – это 25 процентов.
  • Например, ночь кино. С этого года это бесплатный показ российских кинофильмов на улицах, площадях и в парках, которые мы будем осуществлять для населения. Например, Дворцовая площадь во время Экономического форума [в Санкт-Петербурге] – несколько дней показа российского кино в живом сопровождении оркестра Мариинского театра
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  • В мае «Ленфильм» откроет свои новые производственные цеха и павильоны.
  • В конце года «Союзмультфильм» наконец‑то обретёт собственное здание, свои производственные мощности рядом с Останкино.
  • запустили программу государственных дотаций при открытии современных кинозалов, которые могут показывать премьеры, в малых городах с населением меньше 100 тысяч. Всего планируем 512 новых, современных кинозалов. В этих кинозалах в течение трёх лет будет установлена российская доля – 50 процентов
  • На эти цели в общей сложности в Фонд кино мы выделили 2,5 миллиарда рублей.
  • Удивительно, но цирки простаивают между представлениями. Там будет, соответственно, показываться 100 процентов детского кино.
  • – установили минимальную фиксированную квоту на поддержку детского кино, оно у нас было забыто в последние годы, и анимационного. В общей сложности 25 процентов.
  • Мы решили вместе с телеканалами поддерживать те сериалы, которые самим телеканалам делать невыгодно: классика литературы или дорогие исторические сериалы. Первые примеры нашего совместного производства, телеканалов и Минкультуры, – «Тихий Дон», «Бесы» по Достоевскому, «Молодая гвардия» Фадеева, «Екатерина Великая».
  • сделали список из ста лучших фильмов, которые нужно показывать нашим детям. Эти фильмы очистили от авторских прав, разместили их на сайте культура.рф, нашем портале, в бесплатном доступе, на сайте Минобрнауки
  • мы придумали, что эти фильмы будут показываться в кинотеатрах, то есть детей туда будут водить бесплатно, и кинотеатры такую свою социальную функцию выполняют. Плюс к этому они сделали короткие, по 10–15 минут лекции перед каждым фильмом, о чём и как делалось это советское кино
Maria Gurova

ВЕДОМОСТИ - Государство заплатит кинотеатрам за показ русского кино - 2 views

www.vedomosti.ru/...inoteatram-pokaz-russkogo-kino

Theatrical State Funding Economy Political Infrustructure Development Large Adressable Market cinema local vs global content content production

shared by Maria Gurova on 01 Jun 16 - No Cached
  • 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
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  • кинотеатры в течение трех лет должны отдавать под русское кино не менее 50% сеансов в среднем за квартал. По данным Фонда кино, за первые девять месяцев года все российские кинотеатры отдали под русские фильмы около 19% своих сеансов, в том числе крупные сети – около 18%.
  • По данным Фонда кино, в городах с населением менее 100 000 человек работает 707 залов. Если исключить из них кинотеатры в подмосковных городах, то в малых региональных городах открыто около 600 залов
  • Это около 15% от всех современных кинозалов в стране.
  • на 100 000 жителей России приходится менее трех кинозалов, это 42-й результат среди всех стран мира.
  • За первые девять месяцев этого года жители России и СНГ (без учета Украины) потратили на билеты в кино 36,5 млрд руб., и 16,8% из этой суммы – на российские фильмы
  • В итоге Фонду кино этой осенью удалось договориться с несколькими крупными киносетями («Люксор», «Пять звезд», «Киномакс», «Премьер-зал» и «Мираж синема») о том, что последние приложат максимальные усилия для увеличения доли русских сеансов в своих залах в следующем году до 20%
Maria Gurova

15 Mind-Blowing Stats About Generation Z - 1 views

www.cmo.com/...-stats-about-generation-z.html

Technology Social Generation Conflict Gen Z Workplace

shared by Maria Gurova on 07 Apr 16 - No Cached
  • Gen Z shares the entrepreneurial spirit of Millennial innovators: About 72% of current high-schoolers want to own their own businesses, and 76% hope they can turn their hobbies into full-time jobs.
  • Gen Zers influence $600 billion of family spending.
Maria Gurova

What Happens When Millennials Run the Workplace? - The New York Times - 0 views

www.nytimes.com/...millennials-mic-workplace.html

Social HR trends Generation Conflict Millennials Workforce shifting organizational structure flexibility accessibility openness ME Brand self-branding

shared by Maria Gurova on 05 Apr 16 - No Cached
  • Maybe this is because I’m young, but, like, I don’t think that there is a lot about my personal life that I wouldn’t want to incorporate into what I’m doing professionally,”
Maria Gurova

Virtual Reality Is the Most Powerful Artistic Medium of Our Time - 0 views

www.artsy.net/...ul-artistic-medium-of-our-time

VR Immersive Entertainment Immersive Experience Technology Art media escapism entertainment Oculus gaming Digital vs Physical

shared by Maria Gurova on 04 Apr 16 - No Cached
  • “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.”
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  • “Ultimately, new technology can reveal desires that already exist on a deep level in society,” says Rafman of the works, which pull from and amplify the seductive forces of video games and cinema. “This desire to escape completely into another dimension has existed for a long time.”
  • Virtual reality’s recent resurgence in prominence begins with Oculus and its visionary 23-year-old founder, Palmer Luckey. In 2012, the then-18-year-old with an affinity for retooling defunct ’90s VR headsets took a hacked-together model to Kickstarter with a funding goal of $250,000. A month later, over 10,000 individuals contributed $2.4 million to the campaign for what was at the time mainly aimed at being a gaming peripheral. Two years later, Facebook wrote a check to buy Oculus VR for $2 billion
  • “This is not a drill. It’s real. It’s a moment,” says Michael Naimark, Google’s first resident virtual reality artist (like Char Davies, he’s listed as a pioneer of VR on Wikipedia). “And the arts community can play a huge role in propagation.
  • Throughout art history, art has reflected the prevalent social relations of the time. It makes sense, then, that the most relative and innovative art forms being produced today would mirror our reality—one defined by a perceived sense of agency in a world filled with invisible algorithms and clicks baited to us by past clicks. The internet spoils us with infinite choice: opportunities to invent our personas, refashion our self-brands, optimize our lives, and enhance our experience. But with mega-corporations quietly holding the joystick, can we really self-determine our destiny?
  • Maria Gurova on 04 Apr 16
     
    on how contemporary are embraces VR, what artist can do to explore, explain and populate the exciting technology.
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