This study aims at movie theaters in Kaohsiung to explore the relationship between marketing mix strategy and repurchase intention. single screen, miniplex, multiplex and megaplex. Our three targeted movie theaters are in the form of multiplex (holding 8 to 15 screens): Vieshow Cinemas in MegaA, Cinemark in Dream Mall and 3.Ambassdor Theatres in E-Da World. The audiences who have tickets to the three movie theaters are the researched samples. This study adopts structured questionnaires and qualitative method to analyze diverse variables. The formal questionnaire includes three sections: marketing mix strategy scale, repurchase intention scale and the consumer¡¦s basic profile. The questionnaires are made with reference to literatures and previous surveys in order to revise to conform to the purpose of the study. For the pilot study, the number of the questionnaires is 100 copies. Then, the number of the samples amounts to 1200 persons by means of convenience sampling. From survey participants, 1012 respondents were collected, and invalid ones were excluded, at the rate of recollection of 84.3%. Two hypotheses are proposed: 1¡GDifferent customers-one variable of population- has significant impact on marketing mix strategy. 2¡GMarketing mix strategy has significant impact on repurchase intention. The statistic tool SPSS17.0 are used for analysis of data and test of hypotheses covering multi analysis in terms of description, reliability, factor, T test, single-factor ANOVA, correlation and regression. The following are the findings: 1¡GDifferent consumers, the variable of population, significantly impact on marketing mix strategy. 2¡GMarketing mix strategy has significant impact on repurchase intention. Our suggestions are made as follows: 1¡GDesign specific network communication for youngsters and adults. 2¡GConvey more advertisement messages on popular networks and papers toward students and employees 3¡GStrengthen the diversity, accessibility and popularity with respect to the contents of network marketing. 4¡GImplement diversified marketing mix strategy for different customers. 5¡GExtend other dimensions (e.g., customer¡¦s satisfaction) for study. 6¡GStudy more movie theaters in different areas (such as Tainan, Taichung, New Taipei City and Taipei) or non-premier theaters by expanding our scales. 7¡GCollaborate and cooperate with the authority.

[pt] Este estudo investiga se há fidelização às salas de cinema e como ela é desenvolvida em um contexto onde a escolha do filme não é levada em consideração. Através de uma pesquisa de campo, são levantadas as variáveis que podem exercer influência no conjunto de consideração dos consumidores de cinema e como essas variáveis se associam à fidelidade. Os resultados indicam indícios de fidelização e de possibilidades de se utilizar a estrutura analítica empregada para aumentar os níveis de fidelização das empresas do setor. / [en] This study investigates possibilities to determine loyalty for movie theaters and how it is developed in context where film preferences are excluded. A survey was used to identify the influence of variables on consumers` evoked set and if or how these variables are associated with loyalty. Although findings show significant but low degrees of loyalty, they provide an analytical framework to increase loyalty levels for movie theater businesses.

Este trabalho apresenta o roteiro do longa-metragem Uma Bicicleta, Minha Mãe e Dois Cinemas, que aborda o cotidiano de uma família que mora e trabalha em um cinema de bairro em Curitiba. Paralelamente ao roteiro, foi desenvolvida uma pesquisa sobre a história dos cinemas de rua de Curitiba, privilegiando depoimentos de profissionais que trabalharam na atividade exibidora. Os relatos influenciaram o formato final da dramaturgia, fornecendo indicações para a criação de personagens e situações, delimitando ainda as épocas onde acontece a estória. O roteiro resulta, portanto, em um tratamento ficcional dos testemunhos obtidos, à medida do possível o mais próximo dos relatos obtidos. A dramaturgia é aplicada na transposição do relato para o universo ficcional. / This paper presents the script of the Uma Bicicleta, Minha Mãe e Dois Cinemas, which addresses the life of a family who lives and works in a cinema district in Curitiba. Parallel to the script, it was developed a research on the history of movie theaters of Curitiba, favoring testimony from professionals who worked in the exhibitor business. The reports influenced the final form of the drama, providing directions for creating characters and situations, limiting even the times where the story happens. The script is, therefore, a fictional treatment of the evidence obtained, the closest to the reports obtained. Dramaturgy is applied in the transposition of the report to the fictional universe.

Dans les années vingt, au moment de l’institutionnalisation du cinéma classique hollywoodien, discours critiques et pratiques publicitaires maintiennent actif un plaisir spectatoriel lié à la présence sensationnelle de réel dans le film. La notion de « réalisme » que ces discours utilisent est un concept fragmenté qui vise d’une part à asseoir la légitimité du cinéma sur le sérieux des arts réalistes, et d’autre part à mettre l’accent sur les liens que le film entretient avec la réalité, dans son tournage, sa fabrication en studio, ou les techniques de l’illusion réaliste. Ces discours révèlent donc tout ce qu’il y a de réel dans le travail de la fiction des films. Il y a donc derrière ces discours un projet réaliste de construction d’un regard spectatoriel anti-illusionniste et actif qui est invité à analyser le film comme une illusion artificielle. Ces discours sont étendus dans le quotidien des spectateurs par des pratiques publicitaires qui visent à créer un espace de réception ludique où réel et romanesque s’interpénètrent dans le ballyhoo aux accents forains, les décorations des entrées de salles de cinéma, et les prologues joués sur scène avant (ou pendant) le film. Ce regard réaliste que ces discours et pratiques développent nous permet d’analyser la réception des films muets hollywoodiens comme un moment ludique et participatif. En visant au réveil des sens et à l’acuité du regard chez le spectateur, ces discours et pratiques permettent de poser la question d’un réalisme hollywoodien dont l’objectif serait un jeu actif, conscient et critique avec l’illusion cinématographique. / In the 1920s, as Hollywood cinema is undergoing industrial institutionalization, critical and advertising discourses maintain active a spectatorial pleasure derived from the sensational presence of reality in fiction films. The notion of « realism » used in those discourses is a « cluster concept » aiming on the one hand to derive cinema’s legitimacy from the serious purpose of realistic arts, and on the other to emphasize the relationship between film and the reality of on location or studio shooting, of the manufacturing of films, and of the tricks behind the realistic illusion. Those discourses therefore reveal all that is real in how fiction works in films and support a realistic project to construct an active and non-illusionistic spectatorial gaze that is invited to analyze film as an artifical illusion. These discourses are extended to spectators’ daily life through advertising practices that aim to create a playful space of reception where reality and romance merge in circus-inspired ballyhoo, in lobby decorations, and in on-stage prologues before, or during, the film. This realistic gaze developped by such discourses and practices allows us to analyze the reception of Hollywood silent films as a playful and participative moment. Aiming to awaken spectators’ senses and sharpen their attention, such discourses and practices allow us to raise the question of a Hollywood realism that would aim to create an active, conscious and critical game with the filmic illusion.

Este trabalho apresenta o roteiro do longa-metragem Uma Bicicleta, Minha Mãe e Dois Cinemas, que aborda o cotidiano de uma família que mora e trabalha em um cinema de bairro em Curitiba. Paralelamente ao roteiro, foi desenvolvida uma pesquisa sobre a história dos cinemas de rua de Curitiba, privilegiando depoimentos de profissionais que trabalharam na atividade exibidora. Os relatos influenciaram o formato final da dramaturgia, fornecendo indicações para a criação de personagens e situações, delimitando ainda as épocas onde acontece a estória. O roteiro resulta, portanto, em um tratamento ficcional dos testemunhos obtidos, à medida do possível o mais próximo dos relatos obtidos. A dramaturgia é aplicada na transposição do relato para o universo ficcional. / This paper presents the script of the Uma Bicicleta, Minha Mãe e Dois Cinemas, which addresses the life of a family who lives and works in a cinema district in Curitiba. Parallel to the script, it was developed a research on the history of movie theaters of Curitiba, favoring testimony from professionals who worked in the exhibitor business. The reports influenced the final form of the drama, providing directions for creating characters and situations, limiting even the times where the story happens. The script is, therefore, a fictional treatment of the evidence obtained, the closest to the reports obtained. Dramaturgy is applied in the transposition of the report to the fictional universe.

Research questions: How does the servicescape in movie theaters, with a particular focus on SF Bio Västerås, influence customer satisfaction and retention, and what are the perceived quality and challenges associated with its implementation? Purpose: The purpose of this study is to explore how movie theaters, such as SF Bio Västerås, use servicescape to influence customer service experience. The study aims to investigate the customers' perceived quality of movie theater servicescape and its impact on customer satisfaction and retention. The research will also examine the potential challenges and trade-offs associated with implementing servicescape strategies in the movie theater industry. Methodology: This study employed a mixed-methods research approach, combining qualitative and quantitative methods to investigate movie theaters, with a specific focus on SF Bio Västerås. A cross-sectional design was used to collect data from multiple cases at a single point in time. Primary data collection included an email interview with the management of SF Bio Västerås and two surveys targeting customers and the general public. Secondary data were gathered to gain insight into movie theaters across Sweden and compare the primary data from SF Bio Västerås to the national context. Theoretical data were collected from academic journals, books, news articles, and websites to address servicescape and potential challenges facing movie theaters. Data analysis was conducted through consensus on data interpretation and data-triangulation. Ethical considerations, such as anonymity and permission, were taken into account throughout the research process to ensure a responsible and respectful study. Findings: This thesis presents findings from two surveys and an email interview with the director and assistant director of SF Bio Västerås, focusing on the importance of servicescape in the movie theater industry. The interviewees emphasize the significance of servicescape in enhancing customer experience and differentiating themselves from competitors like Netflix. Primary data from the surveys indicate that maintaining a clean, comfortable, and functional servicescape, as well as effective employee interactions, are critical to customer satisfaction. Both surveys underscore the importance of managing disruptions and carefully considering the content and duration of commercials and the quality of 3D movies. By understanding and addressing these key factors, cinema operators can optimize the overall customer experience, fostering satisfaction, loyalty, and repeat business, ultimately contributing to the ongoing success and growth of their enterprise.

O trabalho ora apresentado constrói uma interpretação da geografia das salas de cinema contemporâneas do município de São Paulo. Desde seu estabelecimento enquanto equipamento de lazer e cultura, o cinema desempenhou fundamental papel na produção e reprodução do espaço urbano paulistano, engendrando, em diferentes momentos, distintos significados sociais e diversas formas de sociabilidades. Em anos recentes, especialmente no decorrer das décadas de 1990 e 2000, o mercado exibidor cinematográfico paulistano foi modelado por pelo menos dois equipamentos, deveras distintos entre si: os cinemas multiplex, comumente localizado em shopping-centers, pertencentes a grandes redes empresariais, e os cinemas voltados para uma programação alternativa ou de arte, via de regra instalados em vias públicas ou em galerias, fomentando uma apropriação do espaço que podemos alcunhar de territorialidade. Considerando tal constructo social, o objetivo primordial foi analisar o significado das salas de cinema, as ações e apropriações desenvolvidas por seus freqüentadores, na e para a (re)produção do espaço urbano paulistano a partir da década de 1990, elaborando, para tanto, uma compreensão teórico-conceitual embasada nas concepções de redes geográficas e nas territorialidades decorrentes de apropriações espaciais.. A proposta epistemológica foi criar um amalgama complexo, que não mitigasse nem a relevância dos fatores culturais, interpretativos e apropriativos, causa e conseqüência dos cinemas, tampouco desconsiderasse a estruturação e as motivações econômicas dos agentes que coordenam a organização destes equipamentos. Crê-se, nesse sentido, que o trabalho, apresentando e refletindo acerca de um dos mais importantes elementos de lazer e cultura existentes no município de São Paulo, possa subsidiar uma crítica densificada de fenômenos e processos responsáveis, em grande medida, pela produção do espaço urbano contemporâneo e seus significados sociais. / The work for now presented builds an interpretation of the geography of the contemporary movie theaters of the municipal district of São Paulo. From the establishment of the movie theaters while leisure equipment and culture, this element played fundamental part in the production and reproduction of the São Paulo urban space, engendering, in different moments, different social meanings and several forms of sociabilities. In recent years, especially in elapsing of the decades of 1990 and 2000, the market cinematographic from São Paulo exhibitor was modeled for at least two equipments, really different amongst themselves: the multiplex movie theaters, commonly located in shopping centers, belonging to great business nets, and the movie theaters especialized in alternative programming or of art, rule installed in public roads or in galleries, fomenting an appropriation of the space that we can name of territoriality. Considering such a social product, the primordial objective went to analyze the meaning of the movie theaters, the actions and appropriations developed by their visitors, in the and for the (re)production of the from São Paulo urban space starting from the decade of 1990, elaborating, for so much, a theoretical-conceptual understanding based in the conceptions of geographical nets and in the current territories and space appropriations. The theoretical proposal went to create one amalgamates complex, that it didn\'t mitigate nor the relevance of the factors cultural, interpretative and of appropriation, it causes and consequence of the movie theaters, either disrespected the structuring and the agents\' economical motivations that coordinate the organization of these equipments. It is believed, in that sense, that the work, presenting and contemplating concerning one of the most important leisure elements and existent culture in the municipal district of São Paulo, it can subsidize a dense critic of phenomena and responsible processes, in great measure, for the production of the contemporary urban space and their social meanings.

Made available in DSpace on 2016-03-15T19:25:38Z (GMT). No. of bitstreams: 1 Erich Ferreira Caputo.pdf: 2265301 bytes, checksum: 15a3a8c3e9592c1251134d0f761c08b1 (MD5) Previous issue date: 2011-08-09 / Fundo Mackenzie de Pesquisa / New technologies, especially those based on digital processes, are revolutionizing the world in many ways. Technological change is one of the deeper forces that shape the nature and intensity of competition, promoting the entry of new competitors and the elimination of old ones, and also affects even the entertainment industry, or the so-called culture industry, which is part of the film industry. One of the gaps that is felt in the studies of the film industry is the lack of prospects with a focus on management theories, especially when studying the Brazilian scene. For the ordinary cinema often restricted to movies with spectacular special effects and other attributes typical of a mega-production. However, by studying such an environment it is noted that the film industry is not only film, including a series of activities along the production chain, including distribution and exhibition. This study proposes to verify the changes in organizational form in the stage of performance, since, besides being the most apparent to the general public, even today with the wealth of ways to display, this is the step that has been able to adapt, thanks to new digital forms of projection and distribution. The objective of this work is to study the changes or evolution in the organizational forms of cinema since the displays at fairs, theaters and halls, past the palaces to modern cinema and multiplexes coming up with various forms of projection. The theoretical framework adopted is evolutionary, including both the organizational ecology and evolutionary economics, as they provide important elements for understanding change in organizational forms, especially as regards the role of technology and innovation. The following dimensions of organizational form were examined: organizational design (physical space), technology (throwing technique) and market strategy (target audience by geographic location). The cut was investigative in theaters in the city of São Paulo, which represent 40% of moviegoers in Brazil. The research approach adopted is quantitative, based on the historical survey and treatment of the database, and at the same time, qualitative, due to the use of images to illustrate and comment on the figures. The database is secondary and constructed from a historical overview of information collected in books, websites and blogs, information from the Historical Archive of São Paulo and the archives of the Folha de São Paulo. With this survey, it was possible to conduct a census of movie theaters in Sao Paulo, including variables such as: opening and closing dates, name of the cinema, with an address location (neighborhood, downtown, shopping), type of space (hall, barracks, theater, movie theater multiplex, outdoor etc.), number of rooms per address and in most rooms the number of seats. The study concluded that, throughout history the population of cinemas in the city of São Paulo, there were changes in the dimensions in the organizational forms organizational design, technology and location as were changes in the patterns of projection (silent, sound, digital). / As novas tecnologias, principalmente as baseadas em processos digitais, estão revolucionando o mundo em diversos aspectos. A mudança tecnológica é uma das mais profundas forças que moldam a natureza e a intensidade da competição, promovendo a entrada de novos competidores e a eliminação de antigos, além de afetar, até mesmo, a indústria do entretenimento ou, a assim chamada, indústria cultural, da qual a indústria cinematográfica faz parte. Uma das lacunas que é sentida nos estudos da indústria cinematográfica é a falta de perspectivas com foco em teorias de administração, principalmente quando se estuda o cenário brasileiro. Para o senso comum, muitas vezes o cinema restringe-se a filmes com espetaculares efeitos especiais e outros atributos típicos de uma megaprodução. Entretanto, ao estudar tal ambiente, nota-se que a indústria cinematográfica não é só filme, mas inclui uma série de atividades ao longo da cadeia produtiva, como distribuição e exibição. Este trabalho propõe verificar as mudanças na forma organizacional na etapa de exibição, pois, além de ser a mais aparente para o grande público, mesmo nos dias atuais, com a grande profusão de meios de exibição, esta é a etapa que tem conseguido se adaptar, graças às novas formas digitais de projeção e distribuição. O objetivo deste trabalho é estudar as mudanças ou a evolução na forma organizacional das salas de cinema, desde as exibições em feiras, teatros e salões, passando pelos palácios cinematográficos e chegando aos modernos multiplex, com suas várias formas de projeção. O arcabouço teórico adotado é evolucionário, incluindo tanto a ecologia organizacional quanto a economia evolucionária, pois proporcionam elementos importantes para a compreensão da mudança nas formas organizacionais, sobretudo no que se refere ao papel da tecnologia e da inovação. As seguintes dimensões da forma organizacional foram analisadas: design organizacional (espaço físico), tecnologia (técnica de projeção) e estratégia de mercado (público-alvo por localização geográfica). O recorte investigativo foi as salas de cinema da cidade de São Paulo, que, atualmente, constituem 40% do público de cinema no Brasil. A abordagem de pesquisa adotada é quantitativa, em função do levantamento histórico e do tratamento da base de dados, e, ao mesmo tempo, qualitativa, devido ao uso de imagens para ilustrar e comentar os dados quantitativos. A base de dados é secundária e foi construída a partir de um apanhado histórico de informações coletadas em livros, sites e blogs, informações do Arquivo Histórico de São Paulo e arquivos da Folha de São Paulo. Com esse levantamento, foi possível realizar um censo das salas de cinema de São Paulo, cujas variáveis incluem: data de inauguração e fechamento, nome da sala de cinema, localização com endereço (bairro, centro, shopping), tipo de espaço físico (salão, barracão, teatro, cineteatro, multiplex, ar livre etc.), número de salas por endereço e, na maioria das salas, o número de poltronas. O estudo concluiu que, no decorrer da história da população de salas de cinema da cidade de São Paulo, houve mudanças na forma organizacional nas dimensões design organizacional, tecnologia e localização, conforme ocorriam mudanças nos padrões de projeção (mudo, sonoro, digital).

O trabalho ora apresentado constrói uma interpretação da geografia das salas de cinema contemporâneas do município de São Paulo. Desde seu estabelecimento enquanto equipamento de lazer e cultura, o cinema desempenhou fundamental papel na produção e reprodução do espaço urbano paulistano, engendrando, em diferentes momentos, distintos significados sociais e diversas formas de sociabilidades. Em anos recentes, especialmente no decorrer das décadas de 1990 e 2000, o mercado exibidor cinematográfico paulistano foi modelado por pelo menos dois equipamentos, deveras distintos entre si: os cinemas multiplex, comumente localizado em shopping-centers, pertencentes a grandes redes empresariais, e os cinemas voltados para uma programação alternativa ou de arte, via de regra instalados em vias públicas ou em galerias, fomentando uma apropriação do espaço que podemos alcunhar de territorialidade. Considerando tal constructo social, o objetivo primordial foi analisar o significado das salas de cinema, as ações e apropriações desenvolvidas por seus freqüentadores, na e para a (re)produção do espaço urbano paulistano a partir da década de 1990, elaborando, para tanto, uma compreensão teórico-conceitual embasada nas concepções de redes geográficas e nas territorialidades decorrentes de apropriações espaciais.. A proposta epistemológica foi criar um amalgama complexo, que não mitigasse nem a relevância dos fatores culturais, interpretativos e apropriativos, causa e conseqüência dos cinemas, tampouco desconsiderasse a estruturação e as motivações econômicas dos agentes que coordenam a organização destes equipamentos. Crê-se, nesse sentido, que o trabalho, apresentando e refletindo acerca de um dos mais importantes elementos de lazer e cultura existentes no município de São Paulo, possa subsidiar uma crítica densificada de fenômenos e processos responsáveis, em grande medida, pela produção do espaço urbano contemporâneo e seus significados sociais. / The work for now presented builds an interpretation of the geography of the contemporary movie theaters of the municipal district of São Paulo. From the establishment of the movie theaters while leisure equipment and culture, this element played fundamental part in the production and reproduction of the São Paulo urban space, engendering, in different moments, different social meanings and several forms of sociabilities. In recent years, especially in elapsing of the decades of 1990 and 2000, the market cinematographic from São Paulo exhibitor was modeled for at least two equipments, really different amongst themselves: the multiplex movie theaters, commonly located in shopping centers, belonging to great business nets, and the movie theaters especialized in alternative programming or of art, rule installed in public roads or in galleries, fomenting an appropriation of the space that we can name of territoriality. Considering such a social product, the primordial objective went to analyze the meaning of the movie theaters, the actions and appropriations developed by their visitors, in the and for the (re)production of the from São Paulo urban space starting from the decade of 1990, elaborating, for so much, a theoretical-conceptual understanding based in the conceptions of geographical nets and in the current territories and space appropriations. The theoretical proposal went to create one amalgamates complex, that it didn\'t mitigate nor the relevance of the factors cultural, interpretative and of appropriation, it causes and consequence of the movie theaters, either disrespected the structuring and the agents\' economical motivations that coordinate the organization of these equipments. It is believed, in that sense, that the work, presenting and contemplating concerning one of the most important leisure elements and existent culture in the municipal district of São Paulo, it can subsidize a dense critic of phenomena and responsible processes, in great measure, for the production of the contemporary urban space and their social meanings.

Cette étude prend pour objet les salles de cinéma et la relation des spectateurs avec elles. Pour pouvoir embrasser toutes les facettes de la salle de cinéma à l’ère de la multiplication des écrans, le travail s’insère pleinement dans une perspective socio-économique qui articule méthodes quantitatives et qualitatives et s’organise en trois grandes parties. La première décrit les lignes générales de l’expérience cinématographique avec ses écrans et ses sites, la deuxième aborde directement le contexte du paysage cinématographique en Turquie, et la troisième partie s’attache à décrire la place des spectateurs dans ce contexte particulier. Il essaye de construire, à la manière d’un puzzle, le portrait du spectateur-type en Turquie, tout en espérant que ce portrait sera révélateur pour comprendre le spectateur actuel. Les observations par immersion faites dans le cadre de cette étude témoignent de l’existence d’une ligne commune qui traverse tous les types de salles, que ce soit des multiplexes, des salles de quartier ou des espaces de visionnement alternatifs, et de la continuation de l’expérience en salle à domicile. / The object of this research is the movie theaters and the relationship of the audience with them. To embrace all aspects of the movie theaters in the era of proliferation of screens, the study which follows up a socio-economic perspective articulating quantitative and qualitative methods is organized into three parts. The first part describes the general lines of the cinematic experience with its screens and sites, the second directly addresses the context of the film industry in Turkey, and the third sets out to analyze the place of the movie spectators in this particular context. It thus tries to build up like a jigsaw puzzle, a portrait of the typical spectator in Turkey, hoping that this portrait would be relevant to understand today’s audience. The field observations made within the framework of this study demonstrate the existence of a common line cutting across all types of movie theaters, whether it be multiplexes, neighborhood cinemas or alternative screening areas, and illustrate the continuation of the theater experience at home.