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The old saying does often seem to hold true: the rich get richer while the poor get poorer, creating a widening gap between those who have more and those who have less. The sociologist Robert K. Merton called this phenomenon the Matthew effect, named after a passage in the gospel of Matthew. Yet the more closely we examine the sociological effects of this principle, the more complicated the idea becomes. Initial advantage doesn't always lead to further advantage, and disadvantage doesn't necessarily translate into failure. Does this theory need to be revisited? Merton's arguments have significant implications for our conceptions of equality and justice, and they challenge our beliefs about culture, education, and public policy. His hypothesis has been examined across a variety of social arenas, including science, technology, politics, and schooling, to see if, in fact, advantage begets further advantage. Daniel Rigney is the first to evaluate Merton's theory of cumulative advantage extensively, considering both the conditions that uphold the Matthew effect and the circumstances that cause it to fail. He explores whether growing inequality is beyond human control or disparity is socially constructed and subject to change. Reexamining our core assumptions about society, Rigney causes us to rethink the sources of inequity.
The old saying does often seem to hold true: the rich get richer while the poor get poorer, creating a widening gap between those who have more and those who have less. The sociologist Robert K. Merton called this phenomenon the Matthew effect, named after a passage in the gospel of Matthew. Yet the more closely we examine the sociological effects of this principle, the more complicated the idea becomes. Initial advantage doesn't always lead to further advantage, and disadvantage doesn't necessarily translate into failure. Does this theory need to be revisited? Merton's arguments have significant implications for our conceptions of equality and justice, and they challenge our beliefs about culture, education, and public policy. His hypothesis has been examined across a variety of social arenas, including science, technology, politics, and schooling, to see if, in fact, advantage begets further advantage. Daniel Rigney is the first to evaluate Merton's theory of cumulative advantage extensively, considering both the conditions that uphold the Matthew effect and the circumstances that cause it to fail. He explores whether growing inequality is beyond human control or disparity is socially constructed and subject to change. Reexamining our core assumptions about society, Rigney causes us to rethink the sources of inequity.
This definitive, illustrated biography explores the life and career of the rock music legend with photographs, posters, and other ephemera. Every music critic to rank the Greatest Rock Guitarists of All Time agrees on one thing: Jimi Hendrix is number one. Hendrix enjoyed the international limelight for less than four years, but his innovative guitar playing and imaginative interpretations of blues and rock continue to inspire generations of musicians and music lovers. In Hendrix, music journalist Gillian Gaar explores the guitarist's life from his childhood in Seattle to his service as an Army paratrooper, his role as a sideman on the chitlin' circuit, his exile in the United Kingdom, his rise to superstardom, and his untimely death in 1970. The volume is enhanced throughout with rare archival photographs as well as posters, picture sleeves, and other assorted memorabilia.
This book charts the development of the multiplex cinema as the pre-eminent form of film exhibition across the world. Going from its origins in the USA in the 1960s to its expansion overseas from the mid-1980s across Europe, Australia and other parts of Asia-Pacific, the book considers the emergence of a series of initially regional, then national and then international exhibition circuits. However, more than a consideration of US overseas expansion on the part of companies, this book examines the hegemony of the multiplex as a cultural and business form, arguing for its significance as a phenomenon that has transcended national and global boundaries and which has become the predominant venue for film viewing. Implicit in this analysis is a recognition of the domination of US media multi-nationals and Hollywood cinema, and the development of the multiplex cinema as symbolic of the extension and maintenance of the USA’s cultural and economic power. With case studies ranging from European countries such as Belgium, France, Germany and The Netherlands, to Pacific-Asian countries such as Australia, China, Japan and South Korea, this book is the first to explore the development of multiplexes on a global scale.
Ten years ago, a technological revolution swept through cinemas around the world, as analogue projectors were replaced with digital equipment. It was not just the plastic medium of film that was removed from projection boxes during this transformation; most cinemas took this opportunity to also evict the human projectionists who were hitherto in charge of screenings. Projectionists had been hidden from the sight of audiences for most of the history of photographic moving image projection, and their redundancies went largely unnoticed and unremarked upon. This book focuses attention on what has been happening behind film spectators' heads for the past 130 years, and attempts to write the history of cinema in Britain from the perspective of its habitually overlooked and undervalued projectionists, beginning in the silent era and continuing to the present day. Drawing upon extensive archival research and lengthy interviews with former projectionists, it documents the key facets and challenges of their work, and how these evolved in response to previous waves of significant technological change. It evaluates how projectionists helped to design and maintain key aesthetic characteristics of the 20th century big screen experience. It shows how the institution of cinema in Britain has been historically underpinned by the harsh exploitation of projectionists by many employers, detailing inadequate wage levels and poor working conditions that formerly provoked government investigation, and explaining why these problems were never successfully ameliorated by trade unions. It also charts in depth the recent fateful transition to digital projection, delineating how and why projectionists were so swiftly and ruthlessly consigned to the past, and assessing whether this form of entertainment should be considered diminished by their super session.
Cinema Memories brings together and analyses the memories of almost a thousand people of going to the cinema in Britain during the 1960s. It offers a fresh perspective on the social, cultural and film history of what has come to be seen as an iconic decade, with the release of films such as A Taste of Honey, The Sound of Music, Darling, Blow-Up, Alfie, The Graduate, and Bonnie and Clyde. Drawing on first-hand accounts, authors Melvyn Stokes, Matthew Jones and Emma Pett explore how cinema-goers constructed meanings from the films they watched - through a complex process of negotiation between the films concerned, their own social and cultural identities, and their awareness of changes in British society. Their analysis helps the reader see what light the cultural memory of 1960s cinema-going sheds on how the Sixties in Britain is remembered and interpreted. Positioning their study within debates about memory, 1960s cinema, and the seemingly transformative nature of this decade of British history, the authors reflect on the methodologies deployed, the use of memories as historical sources, and the various ways in which cinema and cinema-going came to mean something to their audiences.
This is the first book to provide a thorough examination of the British 'B' movie, from the war years to the 1960s. The authors draw on archival research, contemporary trade papers and interviews with key 'B' filmmakers to map the 'B' movie phenomenon both as artefact and as industry product, and as a reflection on their times.
This extensive bibliography and reference guide is an invaluable resource for researchers, practitioners, students, and anyone with an interest in Canadian film and video. With over 24,500 entries, of which 10,500 are annotated, it opens up the literature devoted to Canadian film and video, at last making it readily accessible to scholars and researchers. Drawing on both English and French sources, it identifies books, catalogues, government reports, theses, and periodical and newspaper articles from Canadian and non-Canadian publications from the first decade of the twentieth century to 1989. The work is bilingual; descriptive annotations are presented in the language(s) of the original publication. Canadian Film and Video / Film et vidéo canadiens provides an in-depth guide to the work of over 4000 individuals working in film and video and 5000 films and videos. The entries in Volume I cover topics such as film types, the role of government, laws and legislation, censorship, festivals and awards, production and distribution companies, education, cinema buildings, women and film, and video art. A major section covers filmmakers, video artists, cinematographers, actors, producers, and various other film people. Volume II presents an author index, a film and video title index, and a name and subject index. In the tradition of the highly acclaimed publication Art and Architecture in Canada these volumes fill a long-standing need for a comprehensive reference tool for Canadian film and video. This bibliography guides and supports the work of film historians and practitioners, media librarians and visual curators, students and researchers, and members of the general public with an interest in film and video.
On Screen and Off shows that the making of Nazism was a local affair and the Nazi city a product of more than models and plans emanating from Berlin. In Hamburg, film was key in turning this self-styled "Gateway to the World" into a "Nazi city." The Nazi regime imagined film as a powerful tool to shape National Socialist subjects. In Hamburg, those very subjects chanced upon film culture as a seemingly apolitical opportunity to articulate their own ideas about how Nazism ought to work. Tracing discourses around film production and film consumption in the city, On Screen and Off illustrates how Nazi ideology was envisaged, imagined, experienced, and occasionally even fought over. Local authorities in Hamburg, from the governor Karl Kaufmann to youth wardens and members of the Hamburg Film Club, used debates over cinema to define the reach and practice of National Socialism in the city. Film thus engendered a political space in which local activists, welfare workers, cultural experts, and administrators asserted their views about the current state of affairs, articulated criticism and praise, performed their commitment to the regime, and policed the boundaries of the Volksgemeinschaft. Of all the championed "people's products," film alone extended the promise of economic prosperity and cultural preeminence into the war years and beyond the city's destruction. From the ascension of the Nazi regime through the smoldering rubble, going to the movies grounded normalcy in the midst of rupture.