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2019 | OriginalPaper | Chapter

8. The Multiplex in Belgium, the Netherlands, and Scandinavia

Author : Stuart Hanson

Published in: Screening the World

Publisher: Springer International Publishing

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Abstract

Hanson examines the development of the multiplex in several European territories through both the expansion of US multiplex operators from the 1990s, in the wake of the penetration and popularity of Hollywood films, and its adoption by indigenous cinema exhibitors. Chapter 8 considers a series of case studies of territories in which US companies such as Warner Bros. Accessed markets more readily—the Netherlands and Denmark—and markets where the penetration of US exhibitors was marginal or non-existent—Belgium, Norway, and Sweden. Hanson also details the emergence of a series of domestic multiplex exhibitors such as Kinepolis, Pathé, Sandrews, Metronome, Svensk Filmindustri, Nordisk Film, and the Nordic Cinema Group.

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previous chapter Multiplexes Move Out of Town and Back Again

next chapter The Multiplex in Germany and France

Kimberley Strub, “The European Film and Exhibition Climate,” BoxOffice 128, no. 6 (1 June, 1992), 16.

“Cinema in Europe: Circuit Building and Multiplexes,” Screen Digest (July, 1991), 153.

John Hazelton, “Theatrical performances,” Screen International 617 (12 September, 1987), 16.

Adam Dawtrey “The Resurrection of British Cinema,” The Hollywood Reporter International Exhibition Special Report 317, no. 25 (May, 1991), S-4.

“Cinemas and Their Audiences: Just Holding On,” Screen Digest (September, 1992), 202.

“Market Profile: European Multiplex Cinemas—The Second Revolution,” Film Journal International 99, no. 6 (1 July, 1996), 75.

London Economics/BIPE, White Book of the European Exhibition Industry: Vol 2 (1994). http://www.mediasalles.it/whiteboo/wb2_1_3.htm (accessed 4 January, 2019).

Ibid.

Dodona, Cinemagoing Western Europe 2000 (Leicester: Dodona Research, 2000), 56 and Dodona, Cinema Industry Research: France & Benelux 2018 (Leicester: Dodona Research, 2018), 1.

Dodona, Cinemagoing Western Europe 2000, 50 and Dodona, Cinema Industry Research: France & Benelux 2018, 1.

Statbel, Exploitatie van bioscoopzalen in België, 2015–16. https://statbel.fgov.be/en/themes/enterprises/cinemas#figures (accessed 25 August, 2018).

Andreas Fuchs, “A Multi-screen Pioneer,” Film Journal International 100, no. 6 (1 July, 1997), 106.

Ibid., 106.

Lies Van de Vijver, “The Cinema is Dead, Long Live the Cinema!: Understanding the Social Experience of Cinema-Going Today,” Participations: Journal of Audience & Reception Studies 14, no. 1 (2017): 129–44.

Christian de. Schutter, “Think Big,” Screen International 734 (9 December 1989), 34.

Fuchs, “A Multi-screen Pioneer,” 110.

Kathleen Lotze, “Bringing the Multiplex to Antwerp: A Battle of Two Giants,” Tijdschrift voor Mediageschiedenis 21, no. 1 (2018), 76–101, 80. http://www.tmgonline.nl/index.php/tmg/article/view/339 (accessed 30 July, 2018).

Ibid.

According to Lotze (ibid., 99) the characterisation of Heylen’s company as the Rex Concern is incorrect since in the first instance it refers to the fact that his flagship cinema was called the Rex and secondly that the complex structure of Heylen’s ownership meant that “Heylen’s cinema group was not a concern, as the different companies that fell under Heylen’s supervision could not technically be considered a ‘business unit’.”

Ted Clark, “Heylen Circuit Renovates Sites and Expands To 60 Screens,” Variety 311, no. 1 (4 May, 1983), 451.

Lotze, “Bringing the Multiplex to Antwerp.”

“Benelux-Films: Power Concentrations Increased Among Belgian Cinema Owners,” Variety 316, no. 12 (17 October, 1984), 58, 62.

Andy Stern, “UGC, Kinepolis Duke It Out for Belgian Dominance,” Variety 379, no. 5 (19 June, 2000), 56.

Dodona, Cinema Industry Research: France & Benelux 2018, 2.

Daniel Biltereyst and Lies Van de Vijver, “Cinema in the ‘Fog City’. Film Exhibition and Social Geography,” in Cinema Beyond the City: Small-town and Rural Film Culture in Europe, eds. Judith Thissen and Clemens Zimmermann (London: British Film Institute, 2016).

Marlene Edmunds, “Kinepolis Keeps the Plexes Coming,” Variety 371, no. 6 (15 June, 1998), 74.

Andy Stern, “Kinepolis Still Rules the Belgian Scene,” Variety 375, no. 6 (21 June, 1999), 64.

Kjell Neckebroeck, “France and Benelux: The Exhibition Basics,” The Film Journal 99, no. 1 (1 January, 1996), 32.

Dodona, Cinema Industry Research: France & Benelux 2018, 13.

Kinepolis, Kinepolis Completes Acquisition of Canadian Movie Theatre Group ‘Landmark Cinemas’, Kinepolis Group Press Release. https://corporate.kinepolis.com/en/press-releases/kinepolis-completes-acquisition-canadian-movie-theatre-group-landmark-cinemas (accessed 25 August, 2018).

Michel Gyory and Gabriele Glas, Statistics of the Film Industry in Europe (Brussels: The European Centre for Research and Information on Film and Television (CERICA), 1992), 205; and Edward Borsboom, 100 Years of Cinema Exhibition in the Netherlands—A Historical Profile. Media Salles. http://www.mediasalles.it/ybkcent/ybk95_nl.htm (accessed 3 January, 2019).

Dodona, Cinemagoing Benelux 2004 (Leicester: Dodona, 2004), 67.

Nederlands Vereniging Van Bioscopen En Filmtheaters. https://www.denvbf.nl/english/ (accessed 3 January, 2019).

Gyory and Glas, Statistics of the Film Industry in Europe, 204; and “World Cinema: Upward Reversal of Fortune,” Screen Digest (September, 1994), 202.

“Three Pact to Build Multiplexes in the Netherlands,” Variety 351, no. 2 (10 May, 1993), 93.

See Philip Turner, Cannon Cinemas: An Outline History (St. Paul’s Cray: Brantwood Books, 1997) and MGM Cinemas: An Outline History (St. Paul’s Cray: Brantwood Books, 1998).

Bruce Alderman, “Cannon In Holland has 68 Screens & 34% Market Share,” Variety 332, no. 11 (5 October, 1988), 88.

Mary Van De Kerkof-Flanagan, “Dutch Theater Boom Continues,” Variety 356, no. 13 (24 October, 1994), 66.

Pat Kramer, “Dutch Treat,” BoxOffice 131, no. 7 (1 July, 1995), 42.

Ibid., 42.

Dodona, Cinemagoing Benelux 2004, 61.

Ibid., 20.

Thijs Faas, “Building an Industry,” Screen International 863 (26 June, 1992), 14.

Dolby Laboratories, JT Eindhoven Unveils One of the First Dolby Cinema Locations in the World (3 December, 2014). http://investor.dolby.com/news-releases/news-release-details/jt-eindhoven-unveils-one-first-dolby-cinema-locations-world (accessed 3 January, 2019).

Vue International, Vue International Acquires Second Largest Cinema Chain in the Netherlands (21 August, 2015). http://vue-international.com/index.php/our-media/press-releases/84-vue-international-acquires-second-largest-cinema-chain-in-the-netherlands (accessed 3 January, 2019).

Tom Grater, “Vue Cinemas Acquires Dutch Exhibitor JT Bioscopen,” Screen Daily (24 August 2015). https://www.screendaily.com/news/vue-cinemas-acquires-dutch-exhibitor-jt-bioscopen/5091967.article (accessed 3 January, 2019).

Dodona, Cinemagoing Benelux 2004, 20.

Kinepolis, Kinepolis Takes Over the Wolff Cinema Group in the Netherlands (22 July, 2014). https://corporate.kinepolis.com/en/press-releases/kinepolis-takes-over-wolff-cinema-group-netherlands (accessed 4 January, 2019).

Dodona, Cinemagoing Benelux 2004, 20.

Dodona, Cinema Industry Research: France & Benelux 2018, 17.

Dodona, Cinemagoing Western Europe 2000, 152–3.

Quoted in Marlene Edmunds, “Pathe plans Dutch plexes,” Variety 375, no. 6 (21 June, 1999), 63.

Melissa Morrison, “Rise of the Netherlands: Vlissingen venture Opens a New Era in Dutch Exhibition,” BoxOffice 135, no. 4 (1 April, 1999), 155.

Nederlands Vereniging Van Bioscopen En Filmtheaters, Jaarverslag 2017 (Amsterdam: NVBF, 2017), 35.

“Step into the Future with Us,” Variety 371, no. 6 (15 June, 1998), 63.

Gyory and Glas, Statistics of the Film Industry in Europe, 55 and “World Cinema: Upward Reversal of Fortune,” Screen Digest (September, 1994), 207.

Dodona, Cinemagoing Scandinavia 2006 (Leicester: Dodona Research, 2006), 6; and Danish Film Institute, Facts and Figures 2018 (Copenhagen: Danish Film Institute, 2018), 8. https://www.dfi.dk/files/docs/2018-04/Facts-and-figures-2018_0.pdf (accessed 4 January, 2019).

Gyory and Glas, Statistics of the Film Industry in Europe, 54.

Danish Film Institute, Key Annual Numbers, https://www.dfi.dk/en/english/numbers-and-statistics/annual-key-numbers (accessed 6 January, 2019).

Danmarks Statistik, https://www.statbank.dk/BIO9 (accessed 5 November, 2018).

London Economics/BIPE, White Book of the European Exhibition Industry: Vol 1—Annex 2: Denmark (1994) http://www.mediasalles.it/whiteboo/wb1_andk.htm (accessed 4 January, 2019).

Dodona, Cinemagoing Scandinavia 2003 (Leicester: Dodona Research, 2003), 12 and Danmarks Statistik, https://www.statbank.dk/BIO9 (accessed 5 November, 2018).

“Danish Nordisk Emphasizes Wider Enterprises in Competitive Market,” Variety 328, no. 13 (12 October, 1987), 394.

See Turner, MGM Cinemas, 1998.

Dodona, Cinemagoing Scandinavia 2003, 15.

See Chap. 9 under “Germany” for a detailed discussion of the company.

Dodona, Cinemagoing Scandinavia 2009 (Leicester: Dodona Research, 2009), 5.

Dag Asbjørnsen and Ove Solum, “Public Service Cinema? On Strategies of Legitimacy in Policies for Norwegian Cinema,” International Journal for Cultural Policy 5, no. 2 (1999): 269–91, 270.

Ibid., 280.

Ove Solum, “The Rise and Fall of Norwegian Municipal Cinemas,” in A Companion to Nordic Cinema, eds. Mette Hjort and Ursula Lindqvist (Chichester: Wiley Blackwell, 2016).

See Petra Buddrus, “Nordic Giants Jostle for Position,” Screen International 1222 (20 August, 1999), 24.

Dodona. Cinemagoing Scandinavia & the Baltic, Update 2001 (Leicester: Dodona Research, 2001), 138.

Marlene Edmunds, “Exhibs Making Inroads,” Variety 373, no. 12 (8 February, 1999), 67.

Dodona, Cinemagoing Norway 2014 (Leicester: Dodona Research, 2014), 3.

Dodona, Cinemagoing Scandinavia & the Baltic 2017 (Leicester: Dodona Research, 2017), 24.

ODEON Cinema Group, World Class ODEON Opens in Storo, Oslo, 23 March, 2018. https://www.odeoncinemasgroup.com/news/world-class-odeon-cinema-opens-storo-oslo/ (accessed 16 January, 2019).

Jorn Rossing Jenson, “Environmentally Sound,” Screen International 734 (9 December, 1989), 38.

Ibid.

“Stockholm’s Filmstaden Adds Four New Cinemas, Aims for a Million Admissions,” Screen International 471 (10 November, 1984), 10.

Dodona, Cinemagoing Sweden 2014 (Leicester: Dodona Research, 2014), 5.

See Keith. J.R. Keller, “Major Swedish Exhib Chains Undergo Multiplex Conversion,” Variety 293, no. 9 (3 January, 1979), 24.

Marlene Edmunds,. “Hardtop Wars,” Variety 366, no. 3 (17 February, 1997), 56.

Marlene Edmunds, “Nordic Building Spree Continues,” Variety 371, no. 3 (15 June, 1998), 66.

Edmunds, “Hardtop Wars,” 56.

Quoted in Marlene Edmunds, “AMC plans Swedish 24-plex,” Variety, 14 October, 1997. https://variety.com/1997/film/news/amc-plans-swedish-24-plex-1116674243/ (accessed 3 November, 2018).

Dodona, Cinemagoing Sweden 2014, 158.

Jorn Rossing Jenson, “Swedish distrib Svensk Snubs New AMC Multiplex,” Variety 382, no. 8 (11 April, 2001), 53.

Andreas Fuchs, “AMC is #1 After Nordic Acquisition,” Film Journal, 14 April, 2017. http://www.filmjournal.com/columns/amc-1-after-nordic-acquisition (accessed 2 November, 2018).

ODEON Cinema Group has three subsidiaries: Odeon, UCI, and the Nordic Cinema Group. Odeon-UCI was purchased by AMC in 2016 (see Chap. 6) and subsequently split into two, with Odeon being the British arm and UCI the European Arm.

Title: The Multiplex in Belgium, the Netherlands, and Scandinavia
Author: Stuart Hanson
Publisher: Springer International Publishing
Book: Screening the World
Print ISBN: 978-3-030-18994-5

Electronic ISBN: 978-3-030-18995-2

Copyright Year: 2019
DOI: https://doi.org/10.1007/978-3-030-18995-2_8

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