After God (by Nietzsche) and the man (Foucault), is now the bioscoopwezen a swift death attributed.
Culprits with service to streaming giants such as Netflix, that movies run, making the traditional hollywood Studios’want to stream. No one less than the Canadian topregisseur David Cronenberg recently stated that the cinema already passé.
The announcement of death comes, paradoxically, at the time that the American cinemakassen heavy ring. That is attributed to the superheroes from ‘the Avengers: Infinity War’ and Pixars ‘The Incredibles 2’. In the second quarter (april to June) provided a recordsom of 3.3 billion, the best quarterly result of all time, and 22 percent more than in the same period last year.
A country like Germany shows a completely different picture. The competition of the weather (always hot) and the Football (altjd bad, at least for the Mannschaft) caused a decrease of the visit to cinema this spring, with 17 percent compared to the spring of 2017. Now the world cup is over and hitgevoelige movies as ‘Mamma Mia 2’ and ‘Mission Impossible-Fallout’ in the halls to be expected, hope our eastern neighbours that the fate of this summer will return.
Demise of the cinema
The key question remains, however: the cinema is not doomed to disappear under the growing threat of video-on-demand services (VoD) like Netflix and Amazon, the great rivals of the traditional filmfabriek in Hollywood?
‘The demise of the cinema has for many years been predicted’, says the American connoisseur of the bioscoopwezen Jason Squire. The professor at the USC School of Cinematic Arts in California, recalls that years ago with the emergence of the vcr already obituaries of the cinema hall were drawn up. As a real American, he remains optimistic: ‘Competition makes for more content and promotes creativity”.
Nicely said, but the streamingrevolutie plays Hollywood definitely an issue. Last year, the cinema market in the U.S., the lowest number of tickets sold since 1992. By the increase of the admission fees remained the number of the total cash income 11,12 billion dollar is still within the limits.
The old studiosysteem is under constant pressure, with a wave of mergers and acquisitions in Hollywood. Telecomreus AT&T took recently, the media group Time Warner, including the sphere of the tradition of standing Warner Bros, on. And the studio, 20th Century Fox of mediamogul Rupert Murdoch is currently involved in a hard bidding battle between Disney and kabelgigant Comcast.
Strong steigende costs
In the meantime, continue the filmbudgetten and marketing expenses through the roof to fly. That compels the studios to the defensive tactics of bets on safe franchise (prequels, sequels, remakes, …). ‘Make a movie, is a huge financial lottery game has become,” says Squire about it. Journalist Sharon Waxman, founder of the filmportaal The Wrap, is unlike the professor, however, convinced that the end of the large studo’s near. The future ‘power players’ in the box, according to its platforms like Netflix, Amazon, Apple and Google.
Been a while captures Netflix studioreuzen as Disney fly off. The world leader in video streaming has 125 million users, and wants this year to about eight billion dollars to spend to ere the half of his offer to produce itself. That offer includes series, films, documentaries, and comedy formats. Netflix is available in more than 190 countries.
Where the money is, walk the pond’s full of so many stars over to Netflix and the like. Jennifer Aniston is in the Netflix comedy ‘First Ladies’the role of a lesbian US president, play and Will Ferrell writes for the streaming service a comedy about the Eurovisisongfestival and will probably play the main role. For its part, wants to be Nicole Kidman and her production company Blossom Films coming soon movies and tv series to deliver to Amazon. At the end of 2017 made the online giant known that he was a tv-series going to canning as a prequel to the ‘Lord of the Rings’trilogy. Amazon got already the permission of the heirs of J. R. R. Tolkien.
Old Hollywood is committed not throw in the towel and blows at the (counter-)attack with their own streaming services. The Disney company wants from next year, against contributions in-house movies exclusive on the net offer, including productions of its subsidiary, Pixar, and Marvel hits, and Star Wars adventures. Next year the partnership with Netflix.
That evolution helps the traditional bioscoopgangers and operators is obviously not a nut. To get people to the dark room to lure, says Jason Squire, his technical gimmicks, such as virtual reality stations in the foyer, or ‘special’ events such as live broadcasts of sports and music events.
A other niche to see Squire in the growing entertainment market. As writers themselves books are starting to spend, so can debut directors make their movies with a small budget on the net marketing and online earning money.
Netflix set despite technical innovations still in on old, familiar marketing strategies as giant billboards to the straatrand. Insiders say that the company is planning millions of stitches in a conventional billboards along the legendary Sunset Boulevard between Hollywood and Beverly Hills. Squire thinks that’s a good idea: on Sunset Boulevard ‘ride every day the bobo’s of the enterainmentindustrie along that the decisions”. The initiative is also, however, ‘braggadocio’, says Squire. ‘Netflix wants to give the impression that they are on the same stage as the big studios’.