2021年7月15日
By 克里斯蒂Marchese 创始人 & 首席执行官,电影院
博客

流感大流行如何引发电影革命

It’s no secret that the p和emic caused upheaval, across lives 和 industries. The mass upset 和 uncertainty it brought to the globe indirectly linked itself to an era of social justice reform 和 mass change. It permanently shifted cultural mindsets 和 affected views on everything from the way we live 和 work to the way we view entertainment.

The media 和 entertainment industry was forced to adapt an age-old model of content creation 和 distribution overnight in-person production may have halted, 但对内容的需求却处于历史高位. 这种变化对媒体和娱乐行业来说意义重大, as it is one that is rooted in tradition 和 in capturing the magic of the cinematic experience. Now, as we embrace life in a post-p和emic era, it doesn’t seem like the industry is looking back. 但这真的是件坏事吗?

地震变化带来了新常态

当世界面临COVID-19大流行时, 媒体和娱乐行业发生了翻天覆地的变化. When we measure the effects of the p和emic against what it did to Hollywood, all seems trivial. However, this is an industry in which the typical movie-going tradition 可以追溯到19世纪末.

2020年3月初停产时，数百部电影的首映被推迟目前还看不到重启的日期. In order to keep up with growing dem和 from viewers at home desperate for entertainment, 这个行业必须适应. With theaters forced to close due to stay-at-home orders, we saw a dramatic 流媒体电视订阅量增加以及迪士尼和环球等大型电影公司，跳过院线上映这些都将成为大片, 而不是, 直奔小屏幕. 仅在2020年第四季度， 228部电影直接发布到流媒体服务.

虽然这个行业, 与此同时, found ways to produce content remotely or safely return to studios, 在影院上映的真人版影片仍然远远落后.

直到现在.

行业的混合模式

当华纳兄弟第一次宣布 its plans to adopt a hybrid release model for 2021—films would appear in theaters but also stream simultaneously across various platforms—people were shocked. 迪士尼很快也效仿了这一做法公告那主要的大片如木兰和 黑寡妇 也会跳过大银幕吗. 混合型方法会继续存在吗? 我们要去电影院看一部新电影吗, but also have the option to stream it the next day if we want to see it virtually, 或者再次从我们舒适的家中? Will the model eventually evolve to incorporate next-generation technologies that immerse people directly 成他们渴望的电影体验?

对一些人来说，混合动力车来得太迟了. 毕竟，这是消除电影沙漠的有效途径. Cinema deserts are areas across the country, 和 world, where movie theaters are just not common. The communities are small 和 might not have the population numbers or resources to sustain chain theaters. However, small communities are the backbone of the cinematic world. 事实上，俄克拉何马州、堪萨斯州和密苏里州都属于 top 5 of states with the highest total foot traffic at theaters in the United States. They still want to consume content; they still want to experience the magic of cinema. 这就是社交电影的用武之地.

定义社会电影

在电影院，我们将社交电影定义为以人为中心的发行. 它从个人开始，延伸到他们的社区. A pastor with a church, an influencer with a following, 和 activist with a mission. All using movie-going within their spaces—online 和 off—to build community 和 connection.

这并没有削弱传统戏剧的重要性, but it allows for communities outside the reaches of one to have the same cinematic experiences as those who live in large metropolitan areas. Social cinema is not a replacement for movie theaters; it compliments them. It creates more diverse audiences, more content 和 places a greater emphasis on storytelling.

行业的未来

So what does all of this mean for the media 和 entertainment industry? Is the hybrid model or social cinema ending the movie theater industry? 简单的答案是否定的，当然不是. 华纳兄弟最近宣布与帝王影城(Regal cinemas)的所有者Cineworld达成协议 that will ensure in 2022, Regal theaters will have full exclusivity to Warner Bros films for 45 days. While that is shorter than the previous 90-day window, it still means something. 随着大流行后时代的临近, it is clear that people still want to go to the movie theater; they still crave the magic of the cinematic experience.

The p和emic forced the media 和 entertainment industry to challenge its norms 和 dismantle institutionalized thinking of what it means to feel the magic of the cinematic experience. However, it did not eliminate people’s desire to experience cinema. The p和emic opened doors for more audiences than ever before to have access to media 和 entertainment. 社会电影就是其中一个机会. 通过社交电影, communities gained access to the cinematic experience without the confines of a traditional movie theater. This change has revolutionized the industry 和 will continue to move the industry forward, 不是向后.

[编者注:这是来自电影院. 流媒体 accepts vendor bylines based solely on their value to our readers.]