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a n these early years, the films were all silent and it was
usual to have a live musical accompaniment. By the 1920s,
grander cinemas might even have a full orchestra.
Audiences could be quite noisy, often reading the µintertitles¶
out loud.
Q. What kind of an experience do you think this might be?
a
ully synchronised sound arrived in 1927-29.
aBy the 1930s half the population of Britain went
to the cinema at least once a week.
aAlongside the main film, audiences would also
watch µB¶ pictures and newsreels. Often there
was also µlive¶ entertainment on the stage. The
complete programme lasted about 4 hours.
aBy 1939 there were 5500 cinemas in Britain.
a  1946, cinema attendance in Britain was the
highest ever.

 
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aThere were only 15,000

television sets in Britain in 1945,
but by 1955, when commercial
television started, there were 5
million. By 1961 there were
11million sets and cinema
admissions has fallen by 75%
aentertainment tax went up; audiences couldn¶t
afford to go; prices went even higher
abuilding materials, money and labour channelled
into house-building. Very little left available for
building/repairing cinemas.
alum clearance and rebuilding programmes left
many inner-city cinemas without a local audience
a n 1947-1948, U film distributors boycotted Britain
because the government proposed putting a high
import duty on imported films. Robbed of Hollywood
films, British cinemas had to fall back on old and
poor quality films. Cinema audiences never
recovered.
 What happened in the 1980¶s?

aVideo hire in the 1980s was a further blow to the

cinema. At the lowest point, about 1985, there were
less than 1000 cinemas open in Britain.
 What began to improve the fortunes of cinema in
the 1980¶s?

aThe rise of µmultiplex¶ cinemas. The first was opened in 1985

aout of town sites with easy access by car
ahuge choice of films with 8,9 or even 12 different screens

Q. How does the modern cinema experience compare

with the pre multiplex one?
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cinemas as the µbig 5¶ did.
á tudios produced around 50 films a year
á Cast and crew were employed on long-term contracts and
essentially each studio operated as an assembly line or film
factory. There was less emphasis on the idea of film as µpersonal
expression¶; films were seen as money-making products.
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companies in which no one company is
dominant. They may well, however, work
together a group to keep other companies out of
the market.

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Gny profit is dependent on the deals distributors can
negotiate for DVD, video, cable, satellite and terrestrial
television rights.
aTotal average cost, including marketing, for making a
Hollywood movie has now gone beyond $100 million, for
the first time, we can see that today distribution is as much,
if not more, concerned with making profit from the selling of
films to be shown on
a video & DVD
a subscription satellite and cable channels
a terrestrial network television channels
a syndicated television.  & is the selling of the
rights to the hundreds of city- and state-wide television
stations that exist across the UA.
a
ilms go on generating money in many ways, long
after their initial theatrical release.
or example, the
BBC is believed to have paid £7m to show Titanic on
Christmas Day 2000.
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a n terms of the rest of the world, the British film industry is in good shape and is
seen as one of the most dynamic in the world.
alobal market for film = $63bn in 2002
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aBritain is the third largest film market against revenue (after America and Japan).
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