NAME: AAKARSH GUPTA

BATCH: AMARTYA SEN

ROLL NO.: 21230022322
Operations Management
MOVIE THEATRE

1.Current Indian Market: The Indian market is the biggest market in terms of tickets
sold and movies produced. Foreign markets that used to fetch big business for Indian
movies are yet to pick up after the coronavirus outbreak, as personal devices light up with
more entertainment options and many film-lovers hesitate to step out. Markets in the US,
UK, Australia, and Malaysia, among others, have been critical for the success of Hindi, Tamil,
and Telugu films in the days before covid. The constituents of current Indian market are
Hindi(Bollywood),Telugu(Tollywood),Tamil,Kannada,Marathi,Bengali,Punjabi,Gujrati,Malyala
m,Bhojpuri,etc.

2. India & World- The Indian Film industry is multilingual. The industry is mainly
supported by Indian people and is gaining huge popularity in the world. If we compare to
other countries, then we find that Indian film industry is very versatile and diversified due to
the presence of different languages and cultures. If we compare Indian movies to Hollywood
movies on terms of graphics and picture quality, then Hollywood movies are far better than
Bollywood movies. European and American Movies are also much more technologically
advanced and well researched as compared to the Indian movies. The total cost of
producing a Hollywood movie is very high as compared to Indian movie.

3.Operations Design:
Traditionally a movie theatre, like a stage theatre, consists of a single auditorium with rows
of comfortable padded seats, as well as a foyer area containing a box office for buying
tickets. Movie theatres also often have a concession stand for buying snacks and drinks
within the theatre’s lobby. Other features included are film posters, arcade games and
washrooms. Stage theatres are sometimes converted into movie theatres by placing a
screen in front of the stage and adding a projector; this conversion may be permanent, or
temporary for purposes such as showing arthouse fare to an audience accustomed to plays.
The familiar characteristics of relatively low admission and open seating can be traced to
Samuel Roxy Ruthful, an early movie theatre impresario. Many of these early theatres
contain a balcony, an elevated level across the auditorium above the theatre’s rearmost
seats. The rearward main floor "loge" seats were sometimes larger, softer, and more widely
spaced and sold for a higher price. In conventional low pitch viewing floors the preferred
seating arrangement is to use staggered rows. While a less efficient use of floor space this
allows a somewhat improved sight line between the patrons seated in the next row toward
the screen, provided they do not lean toward one another.

"Stadium seating", popular in modern multiplexes, dates to the 1920s. The 1922 Princess
Theatre in Honolulu, Hawaii featured "stadium seating", sharply raked rows of seats
extending from in front of the screen back towards the ceiling. It gives patrons a clear sight
line over the heads of those seated in front of them. Modern "stadium seating" was utilized
in IMAX theatres, which have very tall screens, beginning in the early 1970s .
Rows of seats are divided by one or more aisles so that there are seldom more than 20 seats
in a row. This allows easier access to seating, as the space between rows is very narrow.
Depending on the angle of rake of the seats, the aisles have steps. In older theatres, aisle
lights were often built into the end seats of each row to help patrons find their way in the
dark. Since the advent of stadium theatres with stepped aisles, each step in the aisles may
be outlined with small lights to prevent patrons from tripping in the darkened theatre. In
movie theatres, the auditorium may also have lights that go to a low level, when the movie
is going to begin. Theatres often have booster seats for children and other short people to
put on the seat, to sit higher, for a better view.

4. Transformation Process- Movie theatres stand in a long tradition of theatres that

could house all kinds of entertainment. Some forms of theatrical entertainment would involve the
screening of moving images and can be regarded as precursors of film.
In 1799, Étienne-Gaspard "Robertson" Robert moved his Phantasmagoria show to an
abandoned cloister near the Vendome in Paris. The eerie surroundings, with a graveyard and
ruins, formed an ideal location for his ghostraising spectacle.
When it opened in 1838, The Royal Polytechnic Institution in London became a very popular and
influential venue with all kinds of magic lantern shows as an important part of its program. At the
main theatre, with 500 seats, lanternists would make good use of a battery of six large lanterns
running on tracked tables to project the finely detailed images of extra-large slides on the 648
square feet screen. The magic lantern was used to illustrate lectures, concerts, pantomimes and
other forms of theatre. Popular magic lantern presentations included phantasmagoria,
mechanical slides, Henry Langdon's dissolving views and his chromatrope.
The earliest known public screening of projected stroboscopic animation was presented by
Austrian magician Ludwig Döbler on 15 January 1847 at the Josephstadt Theatre in Vienna, with
his patented Phantaskop. The animated spectacle was part of a well-received show that sold-out
in several European cities during a tour that lasted until the spring of 1848.
The famous Parisian entertainment venue Le Chat Noir opened in 1881 and is remembered for
its shadow plays, renewing the popularity of such shows in France. he earliest public film
screenings took place in existing (vaudeville) theatres and other venues that could be darkened
and comfortably house an audience. The Berlin Wintergarten theatre was the site of the
Skladanowsky brothers's first film presentation from 1 to 31 November 1895
Émile Reynaud screened his Pantomimes Lumineuses animated movies from 28 October
1892 to March 1900 at the Musée Grévin in Paris, with his Théâtre Optique system. He gave
over 12,800 shows to a total of over 500,000 visitors, with programs including Pauvre Pierrot
and Autour d'une cabine.
Thomas Edison initially believed film screening would not be as viable commercially as
presenting films in peep boxes, hence the film apparatus that his company would first exploit
became the kinetoscope. A few public demonstrations occurred since 9 May 1893, before a
first public Kinetoscope parlor was opened on 14 April 1894, by the Holland Bros. in New
York City at 1155 Broadway, on the corner of 27th Street. This can be regarded as the first
commercial motion picture house. The venue had ten machines, set up in parallel rows of
five, each showing a different movie. For 25 cents a viewer could see all the films in either
row; half a dollar gave access to the entire bill.
The Eidoloscope, devised by Eugene Augustin Lauste for the Latham family, was
demonstrated for members of the press on 21 April 1895 and opened to the paying public on
20 May, in a lower Broadway store with films of the Griffo-Barnett prize boxing fight, taken
from Madison Square Garden's roof on 4 May. Max Skladanowsky and his brother Emil
demonstrated their motion pictures with the Bioscop in July 1895 at the Gasthaus Sello in
Pankow (Berlin). This venue was later, at least since 1918, exploited as the full-time movie
theatre Pankower Lichtspiele and between 1925 and 1994 as Tivoli. The first certain
commercial screenings by the Skladanowsky brothers took place at the Wintergarden in
Berlin from 1 to 31 November 1895.
The first commercial, public screening of films made with Louis and Auguste Lumiere’s
Cinématographe took place in the basement of Salon Indian du Grand Café in Paris on 28
December 1895. Early dedicated movie theatres:
L'Idéal Cinema at Aniche, France, opened 23 November 1905, closed 1977, demolished in
1995During the first decade of motion pictures, the demand for movies, the amount of new
productions, and the average runtime of movies, all kept increasing, and at some stage it
was viable to have theatres that would no longer program live acts, but only movies.
A small still-active Kino Juha movie theatre in Nurmijärvi, Finland, opened in 1958, the
theatre closed in 1995 but re-opened in 2013.The Korsør Biograf Theatre, in Korsør,
Denmark, opened in August 1908 and is the oldest known movie theatre still in continuous
operation.
Transformation to 3Dfilm: 3D film is a system of presenting film images so that they appear to
the viewer to be three-dimensional. Visitors usually borrow or keep special glasses to wear
while watching the movie. Depending on the system used, these are typically polarized
glasses. Three-dimensional movies use two images channelled, respectively, to the right
and left eyes to simulate depth by using 3-D glasses with red and blue lenses (anaglyph),
polarized (linear and circular), and other techniques. 3-D glasses deliver the proper image to
the proper eye and make the image appear to "pop-out" at the viewer and even follow the
viewer when he/she moves so viewers relatively see the same image.
The earliest 3D movies were presented in the 1920s. There have been several prior "waves"
of 3D movie distribution, most notably in the 1950s when they were promoted as a way to
offer audiences something that they could not see at home on television. Still the process
faded quickly and as yet has never been more than a periodic novelty in movie presentation.
The "golden era" of 3D film began in the early 1950s with the release of the first colour
stereoscopic feature, Bwana Devil. The film starred Robert Stack, Barbara Britton and Nigel
Bruce. James Mage was an early pioneer in the 3D craze. Using his 16 mm 3D Bolex system, he
premiered his Triorama program in February 1953 with his four shorts: Sunday in Stereo, Indian
Summer, American Life, and This is Bolex Stereo. 1953 saw two ground-breaking features in 3D:
Columbia's Man in the Dark and Warner Bros. House of Wax, the first 3D feature with
stereophonic sound. For many years, most 3-D movies were shown in amusement parks and
even "4-D" techniques have been used when certain effects such as spraying of water,
movement of seats, and other effects are used to simulate actions seen on the screen.
In 2009, movie exhibitors became more interested in 3D film. The number of 3D screens in
theatre’s is increasing. The RealD company expects 15,000 screens worldwide in 2010. The
availability of 3D movies encourages exhibitors to adopt digital cinema and provides a way for
theatres to compete with home theatres. One incentive for theatres to show 3D films is that
although ticket sales have declined, revenues from 3D tickets have grown.[32] In the 2010s, 3D
films became popular again. The IMAX 3D system and digital 3D systems are used.
The RealD 3D system works by using a single digital projector that swaps back and forth
between the images for eyes. A filter is placed in front of the projector that changes the
polarization of the light coming from the projector. A silver screen is used to reflect this light back
at the audience and reduce loss of brightness. There are four other systems available: Volfoni,
Master Image, XpanD and Dolby 3D.
When a system is used that requires inexpensive 3D glasses, they can sometimes be kept by the
patron. Most theatres have a fixed cost for 3D, while others charge for the glasses, but the latter
is uncommon (at least in the United States). For example, in Pathé theatres in the Netherlands
the extra fee for watching a 3D film consists of a fixed fee of €1.50, and an optional fee of €1 for
the glasses. Holders of the Pathé Unlimited Gold pass (see also below) are supposed to bring
along their own glasses; one pair & supplied yearly.

5. Buyers involved-
6. Multiplexes and Megaplexes
Canada was the first country in the world to have a two-screen theatre. The Elgin Theatre in
Ottawa, Ontario became the first venue to offer two film programs on different screens in 1957
when Canadian theatre-owner Nat Taylor converted the dual screen theatre into one capable of
showing two different movies simultaneously. Taylor is credited by Canadian sources as the
inventor of the multiplex or cineplex; he later founded the Cineplex Odeon Corporation, opening
the 18-screen Toronto Eaton Centre Cineplex, the world's largest at the time, in Toronto, Ontario.
In the United States, Stanley Durwood of American Multi-Cinema (now AMC Theatres) is
credited as pioneering the multiplex in 1963 after realizing that he could operate several attached
auditoriums with the same staff needed for one through careful management of the start times for
each movie. Ward Parkway Centre in Kansas City, Missouri had the first multiplex cinema in the
United States.

Since the 1960s, multiple-screen theatres have become the norm, and many existing venues
have been retrofitted so that they have multiple auditoriums. A single foyer area is shared among
them. In the 1970s, many large 1920s movie palaces were converted into multiple screen venues
by dividing their large auditoriums, and sometimes even the stage space, into smaller theatres.
Because of their size, and amenities like plush seating and extensive food/beverage service,
multiplexes and megaplexes draw from a larger geographic area than smaller theatres. As a rule
of thumb, they pull audiences from an eight to 12-mile radius, versus a three to five-mile radius
for smaller theatre’s (though the size of this radius depends on population density). As a result,
the customer geography area of multiplexes and megaplexes typically overlaps with smaller
theatre’s, which face threat of having their audience siphoned by bigger theatres that cut a wider
swath in the movie-going landscape.

In most markets, nearly all single-screen theatres (sometimes referred to as a "Uniplex") have
gone out of business; the ones remaining are generally used for arthouse films, e.g., the Crest
Theatre in downtown Sacramento, California, small-scale productions, film festivals or other
presentations. Because of the late development of multiplexes, the term "cinema" or "theatre"
may refer either to the whole complex or a single auditorium, and sometimes "screen" is used to
refer to an auditorium. A popular film may be shown on multiple screens at the same multiplex,
which reduces the choice of other films but offers more choice of viewing times or a greater
number of seats to accommodate patrons. Two or three screens may be created by dividing up
an existing cinema (as Durwood did with his Roxy in 1964), but newly built multiplexes usually
have at least six to eight screens, and often as many as twelve, fourteen, sixteen or even
eighteen.

Although definitions vary, a large multiplex with 20 or more screens is usually called a
"megaplex". However, in the United Kingdom, this was a brand name for Virgin Cinema (later
UGC). The first megaplex is generally considered to be the Kinepolis in Brussels, Belgium, which
opened in 1988 with 25 screens and a seating capacity of 7,500. The first theatre in the U.S. built
from the ground up as a megaplex was the AMC Grand 24 in Dallas, Texas, which opened in
May 1995, while the first megaplex in the U.S.-based on an expansion of an existing facility was
Studio 28 in Grand Rapids, Michigan, which reopened in November 1988 with 20 screens and a
seating capacity of 6,000.
A drive-in movie theatre is an outdoor parking area with a screen—sometimes an inflatable
screen—at one end and a projection booth at the other. Moviegoers drive into the parking
spaces which are sometimes sloped upwards at the front to give a more direct view of the movie
screen. Movies are usually viewed through the car windscreen (windshield) although some
people prefer to sit on the bonnet (hood) of the car. Some may also sit in the trunk (back) of their
car if space permits. Sound is either provided through portable loudspeakers located by each
parking space, or is broadcast on an FM radio frequency, to be played through the car's stereo
system. Because of their outdoor nature, drive-ins usually only operate seasonally, and after
sunset. Drive-in movie theatres are mainly found in the United States, [citation needed] where
they were especially popular in the 1950s and 1960s. Once numbering in the thousands, about
400 remain in the U.S. today. In some cases, multiplex or megaplex theatres were built on the
sites of former drive-in theatres.

7. Pricing and Admission

In order to obtain admission to a movie theatre, the prospective theatregoer must usually
purchase a ticket from the box office, which may be for an arbitrary seat ("open" or "free" seating,
first-come, first-served) or for a specific one (allocated seating).As of 2015, some theatre’s sell
tickets online or at automated kiosks in the theatre lobby. Movie theatres in North America
generally have open seating. Cinemas in Europe can have free seating or numbered seating.
Some theatres in Mexico offer numbered seating, in particular, Cinepolis VIP. In the case of
numbered seating systems, the attendee can often pick seats from a video screen. Sometimes
the attendee cannot see the screen and has to make a choice based on a verbal description of
the still available seats. In the case of free seats, already seated customers may be asked by
staff to move one or more places for the benefit of an arriving couple or group wanting to sit
together.

For 2013, the average price for a movie ticket in the United States was $8.13. The price of a
ticket may be discounted during off-peak times e.g. for matinees, and higher at busy times,
typically evenings and weekends. In Australia, Canada and New Zealand, when this practice is
used, it is traditional to offer the lower prices for Tuesday for all showings, one of the slowest
days of the week in the movie theatre business, which has led to the nickname "cheap Tuesday".
Sometimes tickets are cheaper on Monday, or on Sunday morning. Almost all movie theatre’s
employ economic price discrimination: tickets for youth, students, and seniors are typically
cheaper. Large theatre chains, such as AMC Theatres, also own smaller theatre’s that show
"second runs" of popular films, at reduced ticket prices. Movie theatres in India and other
developing countries employ price discrimination in seating arrangement: seats closer to the
screen cost less, while the ones farthest from the screen cost more. Movie theatres in India are
also practicing safety guidelines and precautions after 2020.

In the United States, many movie theatre chains sell discounted passes, which can be
exchanged for tickets to regular showings. These passes are traditionally sold in bulk to
institutional customers and also to the general public at Bulktix.com. Some passes provide
substantial discounts from the price of regular admission, especially if they carry restrictions.
Common restrictions include a waiting period after a movie's release before the pass can be
exchanged for a ticket or specific theatre’s where a pass is ineligible for admission.

Some movie theatres and chains sell monthly passes for unlimited entrance to regular showings.
Cinemas in Thailand have a restriction of one viewing per movie. The increasing number of 3D
movies, for which an additional fee is required, somewhat undermines the concept of unlimited
entrance to regular showings, in particular if no 2D version is screened, except in the cases
where 3D is included. Some adult theatre’s sell a day pass, either as standard ticket, or as an
option that costs a little more than a single admission. Also, for some film festivals, a pass is sold
for unlimited entrance. Discount theatre’s show films at a greatly discounted rate, however, the
films shown are generally films that have already run for many weeks at regular theatre’s and
thus are no longer a major draw, or films which flopped at the box office and thus have already
been removed from showings at major theatres in order to free up screens for films that are a
better box office draw.

8.Other laws- laws governing filmmaking in India are the Indian Cinematograph Act, 1952
and the Cinematograph Rules, 1983. The Central Board of Film Certification (CBFC) is a
statutory board that is responsible for rating and providing clearance to the films before they are
streamed for the general public
In Finland, in addition to the age limits, there are film content icons on the basis of which the age
limit is determined: violence, sex, fear and substance abuse.
Admission to a movie may also be restricted by a motion picture rating system, typically due to
depictions of sex, nudity or graphic violence. According to such systems, children or teenagers
below a certain age may be forbidden access to theatre’s showing certain movies, or only
admitted when accompanied by a parent or other adult. In some jurisdictions, a rating may legally
impose these age restrictions on movie theatres. Where movie theatre’s do not have this legal
obligation, they may enforce restrictions on their own. Accordingly, a movie theatre may either
not be allowed to program an unrated film, or voluntarily refrain from that.

9.Analysis
New forms of competition - One reason for the decline in ticket sales in the 2000s is that
"home-entertainment options improving all the time— whether streamed movies and television,
video games, or mobile apps —and studios releasing fewer movies", which means that "people
are less likely to head to their local multiplex". This decline is not something that is recent. It has
been observed since the 1950s when television became widespread among working-class
homes. As the years went on, home media became more popular, and the decline continued.
This decline continues until this day. A Pew Media survey from 2006 found that the relationship
between movies watched at home versus at the movie theatre was in a five to one ratio and 75%
of respondents said their preferred way of watching a movie was at home, versus 21% who said
they preferred to go to a theatre. In 2014, it was reported that the practice of releasing a film in
theatre’s and via on-demand streaming on the same day (for selected films) and the rise in
popularity of the Netflix streaming service has led to concerns in the movie theatre industry.
Another source of competition is television, which has "...stolen a lot of cinema's best tricks – like
good production values and top tier actors – and brought them into people's living rooms". Since
the 2010s, one of the increasing sources of competition for movie theatre’s is the increasing
ownership by people of home theatre systems which can display high-resolution Blu-ray disks of
movies on large, widescreen flat-screen TVs, with 5.1 surround sound and a powerful subwoofer
for low-pitched sounds.

Advertising: Some moviegoers complain about commercial advertising shorts played before
films, arguing that their absence used to be one of the main advantages of going to a movie
theatre. Other critics such as Roger Ebert have expressed concerns that these
advertisements, plus an excessive number of movie trailers, could lead to pressure to restrict
the preferred length of the feature films themselves to facilitate playing schedules. So far, the
theatre companies have typically been highly resistant to these complaints, citing the need
for the supplementary income. Some chains like Famous Players and AMC Theatres have
compromised with the commercials restricted to being shown before the scheduled start time
for the trailers and the feature film. Individual theatres within a chain also sometimes adopt
this policy.
Loudness: Another major recent concern is that the dramatic improvements in stereo sound
systems and in subwoofer systems have led to cinemas playing the soundtracks of films at
unacceptably high-volume levels. Usually, the trailers are presented at a very high sound
level, presumably to overcome the sounds of a busy crowd. The sound is not adjusted
downward for a sparsely occupied theatre. Volume is normally adjusted based on the
projectionist's judgment of a high or low attendance. The film is usually shown at a lower
volume level than the trailers. In response to audience complaints, a manager at a Cinemark
theatre in California explained that the studios set trailer sound levels, not the theatre.
Copyright piracy: In recent years, cinemas have started to show warnings before the movie
starts against using cameras and camcorders during the movie (camming). Some patrons
record the movie in order to sell "bootleg" copies on the black market. These warnings
threaten customers with being removed from the cinema and arrested by the police. This
example was shown at cinemas in the United Kingdom:
You are not permitted to use any camera or recording equipment in this cinema. This will be
treated as an attempt to breach copyright. Any person doing so can be ejected and such
articles may be confiscated by the police. We ask the audience to be vigilant against any
such activity and report any matters arousing suspicion to cinema staff.
Some theatre’s (including those with IMAX stadiums) have detectors at the doors to pick up
recording smugglers. At particularly anticipated showings, theatres may employ night vision
equipment to detect a working camera during a screening. In some jurisdictions this is illegal
unless the practice has been announced to the public in advance.

Crowd control: As movie theatres have grown into multiplexes and megaplexes, crowd
control has become a major concern. An overcrowded megaplex can be rather unpleasant,
and in an emergency can be extremely dangerous (indeed, "shouting fire in a crowded
theatre" is the standard example of the limits to free speech, because it could cause a
deadly panic). Therefore, all major theatre chains have implemented crowd control
measures. The most well-known measure is the ubiquitous holdout line, which prevents
ticket holders for the next showing of that weekend's most popular movie from entering the
building until their particular auditorium has been cleared out and cleaned. Since the 1980s,
some theatre chains (especially AMC Theatres) have developed a policy of co-locating their
theatres in shopping centres (as opposed to the old practice of building stand-alone
theatre’s). In some cases, lobbies and corridors cannot hold as many people as the
auditoriums, thus making holdout lines necessary. In turn, ticket holders may be enticed to
shop or eat while stuck outside in the holdout line.

Refunds: Most cinema companies issue refunds if there is a technical fault such as a power
outage that stops people from seeing a movie. Refunds may be offered during the initial 30
minutes of the screening. The New York Times reported that some audience members walked
out of Mallick’s film Tree of Life and asked for refunds. At AMC theatres, "...patrons who sat
through the entire film and then decided they wanted their money back were out of luck, as
AMC's policy is to only offer refunds 30 minutes into a screening. The same goes for Landmark,
an independent movie chain... whose policy states, 'If a film is not what is expected… and the
feature is viewed less than 30 minutes a refund can be processed for you at the box office.'
CONCLUSION:
A great variety of films are shown at cinemas, ranging from animated films to blockbusters to
documentaries. The smallest movie theatres have a single viewing room with a single screen. In
the 2010s, most movie theatre’s had multiple screens. The largest theatre complexes, which are
called multiplexes—a concept developed in Canada in the 1950s — have up to thirty screens.
The audience members often sit on padded seats, which in most theatres are set on a sloped
floor, with the highest part at the rear of the theatre. Movie theatre’s often sell soft drinks,
popcorn, and candy, and some theatre’s sell hot fast food. In some jurisdictions, movie theatres
can be licensed to sell alcoholic drinks.