Diploma thesis Stars, points, percentage: the influence of critics reviews on the Czech cinema attendance aims to verify whether reviews and critics in printed and electronic media affect how many viewers see the movie in the cinema. Besides this main question, this study is also focused on other hypotheses associated with the general notion that a professional film critic, as an expert, has higher demands on audiovisual works, and therefore films rated in professional journals have a lower rating than when they are evaluated in the media intended for the general public. The theoretical framework of the thesis briefly deals with the definition and historical development of criticism at first in general and then with the critics and reviews of film. It also outlines the evolution of cinematography and film as media and art. In addition, some other factors that may affect cinema attendance are mentioned. The last passage summarizes the current foreign and domestic studies and works dealing with similar topics. In the research part, all the films that premiered in our country from 2006 to 2015 were analyzed by the quantitative method. There were almost 2,300 films, which were reviewed in Cinepur and Cinema magazines, on iDNES.cz and aktualne.cz news servers and Moviezone.cz, Kinobox.cz and ČSFD web portals....

C’est le 8 mars 1929 qu’on voit pour la première fois à Lyon, dans une salle de cinéma, une production américaine sonore, Les Ailes (Wings, William A. Wellman, 1927). Ce film marque les débuts du cinéma sonore et parlant dans la capitale des Gaules. Dès lors, les grands établissements de la ville s’équipent d’une installation. C’est un succès phénoménal. L’arrivée et le triomphe du cinéma parlant inquiètent le monde théâtral qui voit en lui un sérieux et redoutable concurrent. À cette époque, de nombreux articles rapprochant le septième art et l’art dramatique vont paraître, nombre d’entre eux s’interrogent alors sur l’avenir du théâtre. Mais qu’en est-il réellement des répercussions de la généralisation du parlant sur l’évolution de la fréquentation des théâtres de la ville de Lyon ? Comment réagissent-ils face à l’arrivée des films parlants ? Cette nouvelle technologie a-t-elle eu des conséquences sur leur fréquentation et sur leur fonctionnement ? Dans une approche socio-culturelle, économique et historique, cette thèse se propose donc d’étudier et d’analyser l’évolution de la fréquentation des cinémas et des théâtres lyonnais au cours des années trente. L’étude de l’impact de la généralisation du parlant, puis de la crise économique et enfin de la mise en place des nouvelles lois sociales par le Front populaire en juin 1936 est alors déterminante pour comprendre les changements de rapports qui s’établissent entre ces deux arts. / The first time that an American sound film was shown in a cinema in Lyon, was on March 8, 1929. The movie was entitled Wings (Les Ailes, William A. Wellman, 1927). This film was a starting point for sound films also known as talking pictures, in the capital of the Gauls. From that point, cinemas started to equip. It was a phenomenal success. The beginnings and the triumph of sound films worried the theatre world, which saw them as a serious and fierce rival. This is the time when a lot of articles comparing cinematographic art and drama were published, many of them wondering about the future of drama. What were the repercussions of the transition to sound films on the evolution of theatres attendance in Lyon? How did theatres react to the rise of talking pictures? Did this new technology have an impact on theatres attendance and functioning? This thesis will pay attention to the evolution of attendance in Lyon’s cinemas and theatres in the 1930s focusing on a sociocultural, economic and historic approach. The study of the impact of the transition to sound films as well as the economic crisis and the implementation of laws by the Front populaire in June 1936 are then determining to understand the evolution of the connection between drama and cinema.

Submitted by Luana Rodrigues (luana.rodrigues@fgv.br) on 2013-12-13T18:54:44Z No. of bitstreams: 1 DAVID MUHLBERGER.pdf: 765152 bytes, checksum: 953676edee3dbf1085882aff18d6b4f8 (MD5) / Approved for entry into archive by Luana Rodrigues (luana.rodrigues@fgv.br) on 2013-12-13T18:57:41Z (GMT) No. of bitstreams: 1 DAVID MUHLBERGER.pdf: 765152 bytes, checksum: 953676edee3dbf1085882aff18d6b4f8 (MD5) / Made available in DSpace on 2013-12-14T10:37:02Z (GMT). No. of bitstreams: 1 DAVID MUHLBERGER.pdf: 765152 bytes, checksum: 953676edee3dbf1085882aff18d6b4f8 (MD5) Previous issue date: 2013-12-11 / O presente estudo teve como objetivo testar se a situação econômica teve um impacto sobre os hábitos de consumo de cinema na França, no período contemporâneo (1992-2012). O estudo aborda a relação entre indicadores econômicos e consumo de cinema em um nível agregado e, em seguida, analisa se os vários tipos de filmes, tipos de cinemas e categorias de cinéfilos foram mais ou menos foram afetados pelo estado da economia. No nível agregado, estudos semelhantes já foram realizados em outros países. Este estudo confirma os resultados para a França: como em outros países desenvolvidos, a situação da economia tem pouca influência no consumo de cinema e o setor é resiliente. Este trabalho também traz novas análises detalhadas sobre o comportamento de vários sub-tipos de filmes, segmentos de locais e categorias de consumidores. Ele demonstra que para a maior parte dessas sub-categorias, drivers do mercado são oferta e preço, e que a situação da economia tem pouca influência. Quanto ao tipo de cinema, o estudo argumenta que, comparativamente, cinemas grandes conseguem crescer durante o período de crise. / The present study had the objective of testing whether the state of the economy had an impact on cinema-going habits in France in the contemporary period (1992 – 2012). More specifically, the study attempted to study the relationship between cinema attendance and the state of the economy at an aggregate level, and then to study if various types of movies, segments of venues and categories of movie-goers were more or less affected by the state of the economy. At an aggregate level, similar studies had already been performed in other countries. This study confirms their results for France: like in other developed countries, the state of the economy has little influence on cinema attendance and the sector is resilient. This work also brings new detailed analysis on the behavior of various sub-types of movies, segments of venues and categories of consumers. It demonstrates that for most of these sub-categories, drivers of the market are rather supply and price, and that the state of the economy has low influence. Regarding venues, this study argues that large cinemas are more able to drive growth during crisis periods than other cinemas.

KINO TEATRO LANKOMUMO SVYRAVIMAI EUROPOS SĄJUNGOJE 1990 - 2007 m. Santrauka Nuo 1990 metų prasidėjo kino teatro lankomumo atgimimas, užbaigęs ankstesnį tris dešimtmečius trukusį kino teatro lankomumo mažėjimą. Naujieji amerikietiško tipo kino teatrai – multipleksai – turintys 8 ir daugiau kino sales bei rodantys įspūdingus, finansiniu požiūriu itin sėkmingus filmus, sugrąžino auditoriją į kino teatrus. Bet jau 2001 metais pagal kino teatrų skaičių Europos Sąjungos 15 šalių kino rinka, charakterizuojama kaip galutinai įsotinta ir kurios neįmanoma plėsti vien tik plečiant kino teatrų tinklą. Didžiausias kino teatro lankomumo augimo potencialas stebimas Europos Sąjungos naujosiose šalyse, kur į kino rinkas iki šiol investuota santykinai mažai. Čia palyginus mažas kino ekranų skaičius, tenkantis šalies gyventojams bei mažas kasmetinis apsilankymų skaičius, tenkantis vienam gyventojui. Darbe nustatomos priežastys, sukėlusios kino teatro lankomumo svyravimus, iš kurių pagrindine laikoma – multipleksų plėtra. Darbe teigiama, kad šalyse, kuriose mažiausiai išvystyti multipleksai, yra mažiausias kino teatrų lankomumas. Šis darbas, vertinant jo praktinę reikšmę, turėtų būti aktualus vystantiems kino verslą ir visiems besidomintiems kinu, kino istorija, kino teatrų auditorijos pasikeitimu, multipleksų atsiradimu ir jų įtaka formuojant vartojimo įpročius. / FLUCTUATIONS IN CINEMA ATTENDANCE (EU, 1990 – 2007) Summary Since 1990 cinema attendance began to revive after having declined over a 30-year period. The arrival of American-style multiplexes – new cinemas with eight or more screens demonstrating blockbuster films – had successfully attracted audiences back to the cinema. Since 2001 in terms of the number of cinemas, EU 15 countries cinema market was already described as fundamentally saturated and can no longer be expanded by building new cinemas. The greatest potential lies with new EU countries that untill now have seen less intensive investment. Here cinema markets have low screen densities, which are currently accompanied by low admission – per capita ratios. This paper examines the reasons of fluctuations in cinema attendance and considers the impact of the multiplex development. In terms of practical meaning, this paper should be relevant to cinema business developers and all others being intersted in cinema, cinema history, changes in cinema audiences, rise of multiplex and its impact on consumer habbits.