the third / In mid-90s, the worst period in the history of assistance to rooms in the country, the average Chilean was once every two years to the movies (or "average time" a year, if you will). Nearly two decades later, the picture painted ostensibly better.
According to the latest report from the House of Exhibitors Multiplex (CAEM), today 2.1 assists per year are counted. More than four times in 1995 and slightly more than double that recorded in 2006. In other words, if 10 million eight years ago 524,000 tickets were cut last year's overall attendance was 21 million 200 thousand spectators, record since moved multiplexes to large individual rooms.
All these data arise from the report of the Caem, agency, in turn, uses the studies of the U.S. company Rentrak Corporation. It should be provided, in any event, that the art of cinema circuits are not included in these statistics.
Entertainment inferior to alternatives such as price theater or music, cinema has, however, increased competition from television and digital media. Still dark and away from the 90s in Chile progressive growth is observed.
STILL GROWING
The rate may impress, but still not happy exhibitors: "We are facing a market that has not yet reached the stage of maturity and have room to grow," he said in the report. Such assertions make sense if one considers that Chile is low when neighboring countries to see how many tickets are cut. For example, in Peru, the pace of growth has been in public 12% per year for 12 years, according to measurements Cineplanet chain. Last year, the Peruvian rooms received 31 million spectators and 35 million expected by 2014.
Another significant finding is the disparity between the public and Santiago provinces. For more multiplexes are built outside the capital, does not increase the taste for seeing a play on the big screen at the same rate in the metropolitan area. "If the public meeting will be proportional to the multiplex being built throughout Chile, the rate should be doubled, but in regions whose film is in Santiago," says Alejandro Caloguerea, manager of the House of Displays.
To Hernán Viviano, CEO of 20th Century Fox and Warner Bros, and President of the Chamber of Film Distributors (Cadic), there is a particularly interesting finding in assisting facilities in Chile: not just blockbusters are growing. For example, a film "art" as The Grand Hotel Budapest, garnered 70,000 viewers, more than all previous Wes Anderson together in Chile. And he shoots, going to the big picture, that "if the growth of the industry is so sharp, is due to reach the frequency rate in Mexico to film the next five to seven years." In that country, the rate is 2.5 visits per year: in 2013, the Mexican box office counted 257 million viewers, 30 of them for local cinema.
In terms of gender, in Chile's films "entertainment" (action and animation) in 2013 were 42.7% of the premieres and accounted for 78% attendance.
SCREEN PROTECTION??
According to this measurement, Hollywood premieres representing 64 percent of supply, up from 14, 6% that means Chilean cinema, in second place. When watching movies, but Hollywood sweeps: 85.5 percent of the U.S. public prefers tapes and only 8.4% stake to local films. What to do then? For some, the answer is compelled by law to exhibit minimal theatrical vernacular tapes for a period of time. It is what is called Screen Fee Act.
lmplementado for the first time in 1927 in Britain, the screen quota system has ferrous Latin American adherents as Argentina and Brazil. But the idea has supporters and detractors.
Some estimate that the strength of Korean cinema lies in having one of the strongest laws in the world, setting at least 73 days by a local band rooms. In South Korea, more than half of the population at home watching movies billed. Only then comes Hollywood.
However, in Argentina, the system does not work as intended: before the law was established in 2004, the percentage of assistance to local bands close to 15 percent. After the law has stalled in 10%.
THE HISTORICAL CONTEXT
Despite the explosion of multiplexes since the beginning of XXI century, cinema as mass entertainment is far from meeting today in Chile and the world, the relevance of the good old days. "You only have this data: there are currently 75 000 seats among all theaters Chile, and in 1967 there were 360,000" says Caloguerea. In that year the highest attendance in the last half century was recorded: no less than 75 million entries.
Neither American cinema always dominated the box office so clearly. "Thanks to government support policies, Mexico and Argentina launched an offensive in Latin America since the mid-30s. Took a clean sweep an important space, bringing Hollywood to reduce its presence in the billboard going from 90 percent in the early years 20 to 70 percent in the late 30's and early 40. Latin American cinema point topped 30 per cent. he succeeded with an attractive talkies among the illiterate population. to this they added the constant touring of its actors the world, "says the professor of the Institute of History UC Fernando Purcell. The author of Hollywood and its impact on Chile thus alludes to the tapes featuring singing stars like Jorge Negrete, Pedro Infante and Carlos Gardel.
Far from the golden age of Latin American cinema, offering neighboring countries Chile is rather poor, with just 3.9 percent of releases under European, which is 13.5. Still, not everything shines in the many local debuts (14.5%), several groups have pyrrhic. Chilean tapes with less than 10 thousand spectators came to 74% in 2013 whereas in 2014 it is expected that the number pass local multiplexes in 26 to 40 films, is not ruled out that the percentage becomes even greater.
In this sense, the producer Juan de Dios Larrain (No) assumed to be increasingly difficult marquetear local titles. It argues that there is a double challenge: "Go out to meet the audience and movie theaters at the same time create a new audience." Meanwhile, the supply continues to diversify and cinema remains oxidized, always on the first call....
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