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At a Cinema Near You

At a Cinema Near You

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Published by Letgo_01
The Entertainment Industry (Cinema)
The Entertainment Industry (Cinema)

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Published by: Letgo_01 on Jul 07, 2010
Copyright:Attribution Non-commercial


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strategies for sustainable local cinema development
At a cinema near you
Robin Baker, J. Ron Inglis, Julia Voss
Many people contributed in different waysto this guide and the authors are extremelygrateful to all of them. A special thanks goesto the managers and staff of the 8 case studyvenues who gave freely of their time andenergy and access to so much informationand wisdom.
At a cinema near you
strategies for sustainable local cinema development
Malcolm Allen (Arts Council of England) Jenny Allison(British Film Institute) Clare Binns (Zoo Cinemas), BenBlackman (Plaza Cinema, Crosby), Annette Bradford(Cinema Exhibitors’ Association), Richard Boyd (
),Paul Brett (
), Richard Brousson (
) Chris Chandler(Film Council), Sue Clark (British Board of FilmClassification), Mark Cosgrove (Watershed Media Centre)Helen de Witt (
), Catharine Des Forges (
), SimonDuffy (
) Janet Dunn (Plaza Cinema, Crosby), LouiseGardner (Watershed Media Centre), Jane Gerson(Southern Arts), Ann Griffiths (
), Chris Halliday (PlazaCinema, Crosby) Nigel Hawkins (South Holland ArtsCentre), John Herron (Canal + Images (UK) Ltd),John Hodgkinson (Cinema, Crosby Plaza), Bob Horsley(Plaza Cinema, Crosby), Ken Ingles (EdinburghFilmhouse), Tony Jones (City Screen), Amrik Kerketta(English Heritage), Alan Knowles (Scottish Screen),David Litchfield (Cinema City), James McKenzie(Edinburgh Filmhouse) Lynn Morrison (Zoo Cinemas),Carol Miller (Zoo Cinemas), Zoë Naylor (
), Amanda Nevill(National Museum of Film Photography and Television)Alastair Oatey (City Screen), Tom Olin, Lorna Partington(
), Bill Pearson, Dick Penny (Watershed Media Centre),Laura Phillips (Revolution Films), Belle Stennett (DomeCinema, Worthing), James Stennett (Dome Cinema,Worthing) Alex Stolz (City Screen), Brian Walters (
), JonWebber (Curzon Cinema), Keith Welch (
), John Wilkinson(CEA), Jo Wilson (South Holland Arts Centre)The authors have made every endeavour to ensurethe information in this guide is correct at the time ofgoing to press. However, in a rapidly changingeconomic, political and technical environment weadvise readers to check with individual organisationsfor up to the minute information, particularly thatrelating to funding and e-business.Please note that the information contained in thisbooklet is intended to provide a rough guide. Pleasedo not rely on any of the information provided andseek professional advice where necessary. The viewsexpressed are those of the authors and notnecessarily those of the organisations consulted.Copies of this guide are available on the
’s websiteand from the
Exhibition Development Unit,Regional Arts Councils, Regional Screen Agencies andnational film bodies. This guide is also available inlarge print format on request.Front Cover: Harbour Lights, Southampton, at Dusk. Joe LowBack Cover: Worthing Dome. Kit BradshawISBN 0 85170 959 1© Copyright bfi 2002
    P   s   y   c    h   o ,    C   o   u   r    t   e   s   y    U   n    i   v   e   r   s   a    l
Chapter 1 – Strategic choices
5On the back of an envelope5Market positioning6Full time versus part time cinema7Pure cinema versus mixed activity venues7Beyond film screenings7
Chapter 2 – Planningprocesses
8Timescale8Options appraisal8The business plan8Sensitivity analysis9Assessment of risk9
Chapter 3 – Understandingaudiences
10Different films, different people10Segmentation analysis10Establishing a catchment area11Demographic and lifestyle data11Field research12Audience development12
Chapter 4 – Organisation andconstitution
13Do you need a formal structure?13Setting up a limited company13Forming a charity14
Chapter 5 – Premises issues
15Finding suitable premises15The perils and pitfalls of leases15Planning consents16Listed Buildings16Licences17Building Regulations18
Chapter 6 – Building Design
19Briefing an architect19State of the art design20Number of auditoria20Seating capacity and space requirements21Sound issues21Catering and bar facilities21Access for people with disabilities22An illustrative specification23Other buildings issues23Digital cinemas24
Chapter 7 – Technical andequipment issues
25Screens25Projection facilities25Aspect ratios26Film formats26Archive prints26Video and digital26Sound27
Chapter 8 – Capitalisation
28Capital costing28Raising finance29
Chapter 9 – Economics ofoperation
32Income32Demand forecasting32Ticket pricing33Direct costs33Other costs (overheads)33
Chapter 10 – Operationalmatters
35Film Classification35The Cinema ExhibitorsAssociation36Human resources issues36Staffing structure36Managing a campaign36Film Distributors37Programme booking37Running bars and catering37New methods of marketing39
Part II – Case Studies
Chapter 11 The Curzon, Clevedon41Chapter 12 The Plaza, Crosby45Chapter 13 The Watershed Bristol49Chapter 14 Edinburgh Filmhouse53Chapter 15 The Dome, Worthing57Chapter 16 – The South Holland Centre,Spalding61Chapter 17 The Ritzy, Brixton65Chapter 18 – Harbour Lights Southampton69
1 Sample Options Appraisal732 Sample Sensitivity Analysis753 Sample Risk Assessment764 Cinema Audience Research775 Sample Capital Costing78
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