Over
the course of several decades the cinema hall nonetheless became embedded in
India’s social fabric in unique ways. Without neglecting in any way the
symbolic power of the ‘international’ provenance of the multiplex, and the
manifest desire of the Indian middle classes to inhabit ‘Westernized’ cultural
environments, we have sought to demonstrate here that the antecedents of the
Indian multiplex, and its exclusivity nature in particular, also emerge from
the specific history of the Indian cinema.
Overseas distributors such as Eros, Indian Films
and UTV have raised significant sums on international exchanges and used some
of this money to invest in production.
After seventeen years of liberalization,
large-scale investments in telecoms, television and cinema have bestowed the
media industries with an entirely new social and economic status. In turn, the
influence of the new visual environment promulgated by the commercial media has
become a powerful factor shaping the mindset of India’s upcoming
post-liberalization generation eaters across a wide range of locations.
Due to the ongoing strikes
between the producers, distributors and multiplex owners we have come to a
question that whether strikes are going to influence viewers to watch movies in
Cineplex’s and we got a shocking response 60% feel that strikes will not
influence viewers.
Moserbare has come up with original CD’s at low
prices to demotivate sellers of pirated movies. Some other innovative moves in
this regard can also solve the purpose. People still like watching movies in
multiplexes in spite of the high ticket prices so it can be said that quality
is still the top priority and they want their value for money.
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