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2019 | OriginalPaper | Buchkapitel

9. The Multiplex in Germany and France

verfasst von : Stuart Hanson

Erschienen in: Screening the World

Verlag: Springer International Publishing

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Abstract

Hanson examines the development of the multiplex in two major territories in Europe 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 9 considers two major national case studies: firstly, Germany, in which US companies such as Warner Bros. and United Cinemas International (UCI) accessed markets more readily; and secondly, France, in which the penetration of US exhibitors was, with the exception of one site, non-existent. Chapter 9 also considers the exhibition landscape historically in these two countries, both of which were some way behind countries like Belgium, Sweden, and Britain in their adoption of the multiplex.

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Vorheriges Kapitel The Multiplex in Belgium, the Netherlands, and Scandinavia

Nächstes Kapitel The Multiplex in Australia

Martin Blaney, “Germans Fall Before US Box-Office Advance,” Screen International 827 (4 October, 1991), 8.

Dodona, Cinemagoing Western Europe 2004 (Leicester: Dodona Research, 2004).

SPIO, Spitzenorganisation der Filmwirtschaft e.V. Kino Filmbesuch 1946–2017, Filmbesuche in Deutschland 1946 bis 2017. Wiesbaden. https://www.spio-fsk.de/?seitid=381&tid=3 (accessed 26 August, 2018).

Ibid.

Ralf Dewenter and Michael Westermann, “Cinema Demand in Germany,” Journal of Cultural Economics 29 (2005): 213–31, 214.

Ralf Ludemann, “To Protect and Nurture,” Screen International 863 (26 June, 1992), 22.

“CIC Plans to Build German Multiplexes,” Variety 324, no. 4 (20 August, 1986), 27.

Ibid.

“German-Speaking Market At a Glance—West Germany,” Variety 314, no. 6 (7 March, 1984), 336.

Dodona, Cinemagoing Western Europe 2000 (Leicester: Dodona Research, 2000), 89.

Mike Downey, “CIC, UCI Plan 12 German Plexes” Screen International 715 (29 July, 1989), 715.

Ibid.

Quoted in Patrick Frater, “Cinema Expo: Germany,” Screen International 1013 (23 June, 1995), 25.

Mike Downey, “Multiplex Mania Hits W Germany,” Screen International 735 (16 December, 1989), 1.

Ludemann, “To Protect and Nurture,” 22.

Ibid.

In 1996, WBIT formed a joint venture with Australian exhibitor Village Roadshow International called Warner Village Cinemas Ltd, to own and manage its cinema operations in both Britain and Germany. WBIT’s sites were rebranded as Warner Village Cinemas (see Chap. 5). In 1998, Village Roadshow bought out WBIT in Germany. See Mike Goodridge and Martin Blaney, “Warner, Village split in Germany,” Screen International 1179 (9 October, 1998), 2.

Michael Blaney, “Constantin, Warner Plan Multis,” Screen International 790 (18 January, 1991), 6.

FFA Filmförderungsanstalt, Multiplexe (MP)—Besuch und Umsatz 1997 bis 2000 nach Generationen (2000). https://www.ffa.de/download.php?f=3e1ee009355492b4f82f5d6637ffd69f&target=0 (accessed 27 August, 2018).

Michael Williams and Miriam Hils, “Local Euro Pix: Big Haul at Mall,” Variety 366, no. 6 (10 March, 1997), 1 and 99.

Dodona, Cinemagoing Western Europe 2000, 102 and 95.

Ibid., 1.

Hoyts entered the German market via a 50 per cent stake in exhibitor Thiele Entertainment, which operated 18 sites with 162 screens in 1999, prior to selling its stake to the Kinowelt Arthaus Kino circuit in 2000.

Dodona, Cinemagoing 12 (Leicester: Dodona Research, 2004), 30.

Dodona, Cinemagoing Western Europe 2004, 112.

Dodona, Cinema Industry Research: Germany, Austria, Switzerland 2018 (Leicester: Dodona Research, 2018), 4.

Ed Meza, “Link-Ups Alleviate German Plex Crunch,” Variety 379, no. 5 (19 June, 2000), 53.

Dodona, Cinemagoing Western Europe 2004, 119.

Quoted in Celia Duncan, “10 Years of UCI: If You Build It, They Will Come,” Screen International 1026 (22 September, 1995), 29.

Dodona, Cinemagoing Western Europe 2005 (Leicester: Dodona Research, 2005), 70.

Volker Reich, “A Multiplex in Every Large City,” The Film Journal 98, no. 6 (1 July, 1995), 28.

Quoted in Jack Kindred, “Exhibition Cologne: Ruhring to Go,” Screen International 823 (6 September, 1991), 26.

Ibid., 26.

Ralf Ludemann, “German Exhibition: The Space Race,” Screen International 1095 (14 February, 1997), 32.

Dodona, Cinema Industry Research: Germany, Austria, Switzerland 2015 (Leicester: Dodona Research, March 2015), 3. and Dodona, Cinema Industry Research: Germany, Austria, Switzerland 2018, 5.

Dodona, Cinema Industry Research: Germany, Austria, Switzerland 2018, 3.

Ibid., 3.

See Lothat Blatt, “Comparison of Regulations Governing the Opening of Cinema Complexes in Germany, France and Great Britain,” MEDIA Salles round table The Impact of Multiplexes on the Cinema Market and on their Environment, Amsterdam—Cinema Expo International, 15 June 1998. http://www.mediasalles.it/expo98bl.htm#ing (accessed 25 October, 2018).

Volker Reich, “Booming Investments Vs. Laisser-Faire In Germany,” Film Journal International 100, no. 6 (1 July, 1997), 34 and 36.

Ludemann, “German Exhibition: The Space Race,” 30.

Dodona, Cinemagoing Western Europe 2000 (Leicester: Dodona Research, 2000), 87.

Dodona, Cinema Industry Research: Germany, Austria, Switzerland 2018, 3.

Michael Williams, “Gauls to AMC: Yankee Go Home!” Variety 370, no. 10 (20 April, 1998), 14.

Francoise Maux Saint Marc, “Multiplex Moderation,” Screen International 1241 (21 January, 2000), 16.

Ibid., 16.

John Tagliabue, “Now Playing Europe: Invasion of the Multiplex; With Subplots on Pride and Environment,” The New York Times, 27 January, 2000.

Ibid.

Susan Haywood, French National Cinema, Second Edition (London: Routledge, 2005), 25.

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), 97.

CNC, Fréquentation des salles de cinéma : 200,5 millions d’entrées en 2018. 31 December 2018. https://www.cnc.fr/professionnels/actualites/frequentation-des-salles-de-cinema%2D%2D2005-millions-dentrees-en-2018_903437 (accessed 13 January, 2019).

Melanie Goodfellow, “France Admissions Fell 4.3% in 2018 But It Remains Europe’s Top Cinema-Going Territory.” Screen Daily (3 January, 2019). https://www.screendaily.com/news/france-admissions-fell-43-in-2018-but-it-remains-europes-top-cinema-going-territory/5135539.article (accessed 14 January, 2019).

Dodona, Cinemagoing Western Europe 2000, 69.

See Michael Williams, “Plexes pack ‘em in, Franco study finds,” Variety 369, no. 2 (17 November, 1997), 22.

Dodona, Cinemagoing Northern Europe 2013 (Leicester: Dodona Research, 2013), 18.

Dodona, Cinemagoing Europe 2002 (Leicester: Dodona Research, 2002), 126.

As of 2018: Odeon Cinema Group (Odeon, UCI, and the Nordic Cinema Group) operated cinemas in Scandinavia, Britain, Ireland, Spain, Portugal, Italy, and Germany; Cineworld operates in Britain, Ireland, Poland, Hungary, Romania, Czech Republic, Bulgaria, and Slovakia; and Vue operates in Britain, Germany, Poland, Italy, and the Netherlands.

Richard Kuisel, “The Gallic Rooster Crows Again: The Paradox of French Anti-Americanism,” French Politics, Culture & Society 19, no. 3 (2001): 1–16, 9.

Law No. 96-603 of July 6, 1996, Journal Officiel de la Republique Francaise J.O., 6 July, 1996.

See Graeme Hayes, “Regulating Multiplexes: The French State between Corporatism and Globalization,” French Politics, Culture & Society 23, no. 3 (Winter, 2005): 14–33 and René-Paul Desse, “Les centres commerciaux français, futurs pôles de loisirs?” Flux 4, no. 50 (Octobre–Décembre, 2002): 6–19.

Carlos Pardo. “Multiplexes, opération danger (1),” Cahiers du Cinéma 514 (June, 1997): 60–67, 69. Cited by Hall. Katie. “France’s Multiplex Gauntlet,” Film Journal International 100, no. 8 (1 September, 1997), 34.

Dodona, Cinemagoing Western Europe 2000, 60.

Hayes, “Regulating Multiplexes,” 19.

Parafrance began in 1963 and sold out its exhibition interests in 1986 amidst financial difficulties, when it was the third largest exhibitor with over 300 screens.

See Lenny Borger, “French Reformers Aim to Split Gaumont, Decentralize Exhibition; Push Local Role for U.S. Majors,” Variety 305, no. 2 (11 November, 1981), 3.

See Ted Clark, “France To Ape U.S. Divorce, 1950 Of Distribs And Theatre Control,” Variety 306, no. 10 (7 April, 1982), 33.

“Far From Resting on Its Laurels, Gaumont, at 90, Launches Prod’n, Distrib and Theater Revamp Plans,” Variety 326, no. 4 (18 February, 1987), 4.

Quoted in: Michael Williams, “Indie Exhibs Fear Pathe Swap Fallout,” Variety 246, no. 1 (20 January, 1992), 45.

Dodona, Cinemagoing Europe 2002 (Leicester: Dodona Research, 2002), 107–9.

“Focus on France: Pathé—Keeping Out of Limelight,” Screen International 445 (12 May, 1984), 73, 86.

See Chap. 5 for details of Paretti’s purchase of the Cannon group in Britain and the establishment of Pathé Communications Corporation.

For a detailed overview of the company’s operations see: Nick Bell, “Charging Forward,” Screen International 884 (20 November, 1992), 11–14.

Patrick Frater, “Pathe Chief Demands Lower Film Rental: Seydoux unveils Pathe’s Multiplex Expansion Plan,” Screen International 912 (18 June, 1993), 7.

Patrick Frater, “Cinexpo European Focus: France,” Screen International 963 (24 June, 1994), 50.

Harold Alsberge, “Pathe Emphasizes Customer Satisfaction,” The Film Journal 97, no. 6 (1 July, 1994), 30.

Dodona, Cinemagoing Western Europe 2000 (Leicester: Dodona Research, 2001), 73–4.

Quoted by Kate Combault, “Foreign Correspondence: Cinéma Francais,” Film Journal International 103, no. 6 (1 June, 2000), 80.

Dodona, Cinemagoing Europe 2002, 146

CGR Cinémas annonce l’acquisition du Groupe Cap’Cinéma et devient ainsi le 1er exploitant de cinémas en France, CGR Press Release, 16 November, 2017. http://www.nextstage-am.com/wp-content/uploads/2017/11/Microsoft-Word-Communiqu%C3%A9-de-presse-CGR-Cin%C3%A9mas-Cap-Cin%C3%A9ma-Vdef_.docx.pdf (accessed 15 October, 2018).

Dodona, Cinema Industry Research: France & Benelux 2018, 11.

The Virtual Print Fee (VPF) model is a means of financing the conversion to digital cinema. A third party pays up front for the equipment, and then recoups the cost of the equipment over time, through payments from distributors (who pay the majority of the cost) and exhibitors.

Doris Toumarkine, “In the European Avant-Garde: CGR Cinemas Pioneers Digital Projection in France,” Film Journal International 111, no. 7 (18 June, 2008), 76.

“Indie Exhib Group Buys French Govt. Circuit (22) For $11,850,000,” Variety 261, no. 2 (25 November, 1970), 2.

Patrick Frater, “UGC Goes to Town on Multiplex Plans,” Screen International 893 (5 February, 1993), 6.

Kate Combault, “Cinema Expo Honors UGC Co-founder.” Film Journal International 103, no. 7 (1 July, 2000), 120.

This is the second largest multiplex in France after Kinepolis’ 23-screen Lomme site.

“Uneven Pace of European Cinema,” Screen Digest (September, 2001), 277.

Alison James, “UGC pic pass raises Gallic ire,” Variety 379, no. 5 (19 June, 2000), 54.

Combault, “Cinema Expo Honors UGC Co-founder,” 120.

René Bonnell, La vingt-cinquième image: une économie de l’audiovisuel, 3^e édition: Gallimard, (2001), 154.

Dodona, Cinemagoing Western Europe 2001, 136.

CNC (Centre National du Cinéma et de l’Image Animée), Results 2017: Films, Television Programs, Production, Distribution, Exhibition, Exports, Video, New Media (May, 2017), 69. https://www.cnc.fr/web/en/publications/results-2017_557488 (accessed 23 September, 2018).

Dodona, Cinema Industry Research: France & Benelux 2018, 11.

Kim Williamson, “Yankee Go Home?” BoxOffice, 130, no. 7 (1 July, 1994), 30.

Bruno Frydman, “Exporting the Multiplex Model to Europe: The Experience of AMC” at the MEDIA Salles round table. The Impact of Multiplexes on the Cinema Market and on their Environment, Amsterdam: Cinema Expo International, 15 June, 1998. http://www.mediasalles.it/expo98fr.htm (accessed 10 September, 2011).

Titel: The Multiplex in Germany and France
verfasst von: Stuart Hanson
Verlag: Springer International Publishing
Buch: Screening the World
Print ISBN: 978-3-030-18994-5

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

Copyright-Jahr: 2019
DOI: https://doi.org/10.1007/978-3-030-18995-2_9

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