Film and theater

13. Recall that in” rel=”nofollow”>in the early 1950s theater attendance declin” rel=”nofollow”>ined by almost half due main” rel=”nofollow”>inly to the advent of network television. At this time, Cin” rel=”nofollow”>inerama appeared (along with 3-D and other widescreen
processes, such as VistaVision). Describe both the strengths of the Cin” rel=”nofollow”>inerama process, as well as its limitations, in” rel=”nofollow”>in terms of the motion picture art.
14. Name two production difficulties filmmakers encountered with the classic 3-strip 1B-Technicolor (1932-1955).
Can you thin” rel=”nofollow”>ink of a film story/concept that would benefit from the classic IB-Technicolor effect? Name a film made within” rel=”nofollow”>in the past 20 years that actually used the process in” rel=”nofollow”>in whole or in” rel=”nofollow”>in part. In
either case, explain” rel=”nofollow”>in what IB-Technicolor would or, in” rel=”nofollow”>in the case of an actual film, did contribute to the creative impact of the film. [Note that the imbibition Technicolor process was used in” rel=”nofollow”>in the
United States until about 2000. The IB Tech prin” rel=”nofollow”>ints were made usin” rel=”nofollow”>ing color separations from Eastmancolor negative]

15. In the 1920s, 30s and 40s, movie theatres were large, palatial auditorium affairs accommodatin” rel=”nofollow”>ing thousands of people. In the 1950s many theaters closed due to competition from network
television. The theatrical film in” rel=”nofollow”>industry fought back with technology. In the 50s and 60s there were large scale reserved seat roadshow epics in” rel=”nofollow”>in numerous widescreen processes. In the 70s, 80s and
90s large theaters were subdivided in” rel=”nofollow”>into min” rel=”nofollow”>ini theaters and such complexes were built anew. Competition from home theatres seems to have disposed of the office sized theater. Questions:
a. What is the future of the movie theater? What size of theater will survive? What services, in” rel=”nofollow”>in addition to showin” rel=”nofollow”>ing films will it offer? Why?
b. What manner of film—story, production value,

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