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International Exhibition's Preferred Trade Journal

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NEW EDITION for 2016! Screentrade International Directory of cinema services is the ultimate resource for exhibition. In this printed volume with online companion, you will have fingertip access to the most comprehensive list of service providers, suppliers and other industry specific resources to meet your every need as a busy theatre owner/manager. No cinema operator should be without this indispensable tool.
Screentrade Magazine is released 4-times a year just before each of the major international exhibitor gatherings: Cinemacon, ShowEast, Cine Europe, and CineAsia. Screentrade Magazine subscriptions are sold in 1-year increments. Price's may go up annualy, but your pre-paid price is guaranteed for the term you elect.
Collect the full set of 6 rare limited editions.
Brantwood Collection
Cannon Cinemas – An Outline History looks at the Cannon Group’s beginnings, and at some of the people and factors behind the group’s meteoric rise. Additionally, there is illustrated examination of the circuit’s picture houses highlighting some of the more definitive trademarks of the Cannon legacy including the cinema frontages and façades, the foyers, auditoria and projection equipment using many previously unpublished photographs. Included, too, is a surface account of the Frank Verity-designed Haymarket flagship, the former 1927-built Carlton Theatre acquired by ‘Cannon-Classic’ in 1982. Written by BFI/National Film Theatre and Cinema Theatre Association member, Philip Turner with the co-operation of former Cannon/MGM management, notably Barry Jenkins and George Rymer.
Cannon Cinemas – An Outline History
Created out of a flawed merger between the financially-strapped Pathé Communications Corporation and the remnants of Kirk Kerkorian’s fabled Hollywood studios in 1990, the launch of Britain’s premier exhibitor – MGM Cinemas(UK) Ltd – by Italian investor, Giancarlo Parretti, would occur amid a series of deals blighted by corruption, scandal and double-dealing at international level. Beset by financial problems and a highly controversial transatlantic power struggle at boardroom level, the “purchase” of MGM would result in an uncertain scramble lasting almost two years, while at the same time managing to read more like a real-life Hollywood drama than any fact-based account. Forced into receivership during 1991, both the then-recent Anglo-European exhibitor and Hollywood studio shortly lapsed into the hands of their principal backer, Crédit Lyonnais, prior to being separated and auctioned off during 1995 and 1996, respectively. While several, selective accounts of MGM’s studio history already abound, little is ever mentioned of its original, or indeed later, connections with cinema exhibition. MGM Cinemas – An Outline History, published as a companion to its Cannon Cinemas predecessor, makes good this shortfall and, for the very first time, brings together an outline of the original California studio – the later international circuit’s heritage better known, perhaps, for its Ben Hur; Goodbye, Mr Chips; The Wizard of Oz, and Gone With the Wind productions – founded in 1924 by the Russian-born Louis B. Mayer, along with a highly illustrated account of the ‘nineties UK flagship circuit also to bear the prestigious name. Highlighted here are several of the [numerous] changes to affect the UK circuit modus operandi following the radical innovations introduced by industry outsider and MGM Cinemas’ most recent MD, Mike Sommers; While included, too, is an overview of the MGM developed multiplexes, together with some of the more prestigious refurbished Cannon cinemas deemed worthy of trading as MGMs. These include the disparate Hammersmith, Ealing, Shaftesbury Avenue [and Luton] cinemas, as well as a brace of multiplex takeovers intended for the short–lived Gallery circuit: the Brighton Marina eightscreen and the London Piccadilly Trocadero flagship. Amply demonstrated throughout is the premier exhibitor’s decidely eclectic identity following a selective treatment of its cinemas’ frontages, façades, and auditorium and foyer layouts, and will appeal to a whole diversity of cineastes; employees past and present, and to connoisseurs of architecture alike. Written by BFI/National Film Theatre and CTA member, Philip Turner with help from a cast of former MGM management including MGM head Mike Sommers; ex-booking directors Stuart Hall and Joe Nunes, and former-Gallery Cinemas chief, Anthony Williams; together with input from MGM Cinemas’ principal architects: Unick and McFarlane Latter, MGM CINEMAS is a limited edition of just 3,000 copies worldwide, comprising the third in the Brantwood “Outline History” series which includes also Cannon and Warner Cinemas.
MGM Cinemas – An Outline History
Cineplex Odeon – An Outline History looks at the birth and progress of the Canadian exhibitor, and at elements of its plush theatre circuit, built primarily upon the determination of ‘one man and a multinational’. And with the aid of some previously unpublished photographs, examined here, too, is an overview of the corporation’s fledgeling Gallery circuit, Cineplex Odeon’s short-lived UK subsidiary, the dozen locations of which became surrendered initially to Cannon in 1990. Cineplex Odeon – An Outline History, strictly limited to just 3,000 copies worldwide, has been written by BFI/National Film Theatre and CTA member, Philip Turner, with the co-operation of cur-rent Cineplex Odeon personnel, former director of North American operations, Barry Silver, and ex-Cannon Cinemas Technical Director, Alan McCann.
Cineplex Odeon – An Outline History
Established in August 1986 as a UK subsidy to one of America’s most powerful exhibitors, Showcase Cinemas owes its origins ultimately to National Amusements’ founder, Michael Redstone, a former Boston nightclub owner and pioneer also of the ‘drive-in’ movie theatre. By 1967, Redstone's son, the Harvard-educated Sumner M.Redstone - nicknamed ‘the father of the multiplex’ following his official launch of the multiplex cinema - became National’s new president and CEO, developing the corporation into America’s seventh largest exhibitor. Whilst acknowledging National’s earliest cinematic innovations - which have included the ‘reclining rocker’ cinema chair - together with its recent acquisition of, amongst others, Paramount Communications (and, with it, a 49 per cent stake in rival British exhibitor, United Cinemas International); MTV, Nickelodeon, and numerous powerful TV, cable and radio networks organised under the general umbrella of Viacom - the focus of this title will be very much the British Showcase circuit which, with its 197 screens over 15 sites, has today become the “jewel" in the parent company’s exhibition crown. By adopting a rigid ‘multiplex-only’ policy, involving the faithful translation to Britain of National’s decidedly American multiscreen blueprint, the exhibitor, which to this day remains a privately-owned concern has, inside of just ten years, quietly risen to become a UK market leader. Renowned for its reticence, here, for the first time, and with the help of the original US parent, the doors of the prestigious UK exhibitor are thrown open to cinephiles worldwide, offering an insight into the British subsidiary’s unique philosophy and development. And, with the aid of some previously unpublished photographs, Showcase Cinemas - An Outline History takes in also a highly illustrated architectural appraisal of several of the circuit’s luxurious ‘modern-day supers’ - and, in particular, of their façades, foyers, auditoria and projection galleries - designed by internationally-respected architect, the Shrewsbury-based Abbey Hanson Rowe. Written by BFl/National Film Theatre and CTA member, Philip Turner, with the co-operation of past and present National Amusements personnel; sole circuit architect, Abbey Hanson Rowe, and Showcase (UK)’s little-recognised instigator, and subsequent circuit site developer, Andrew Boulton, Showcase Cinemas is limited to Just 3,000 copies worldwide.
Showcase Cinemas - An Outline History
Whilst today a part of the ubiquitous Time Warner media and entertainments conglomerate, Warner Cinemas owes its origins to the seminal exhibition company formed by Abe and Sam Warner – shortly to be followed by brothers Jack and Harry – in Pennsylvania c.1903; and also to the ‘super’ cinema – one indirect outcome of the company’s successful experimentation with film soundtrack synchronisation. Of course, while there can be little doubting the very breadth of Warner’s film production-distribution input over the last century – and amongst which can be counted the musicals 42nd Street and the Gold Diggers series, together with such films as Don Juan, High Sierra, The Roaring Twenties, Casablanca and The Fugitive – it is in fact only as recently as 1988 that the company have begun quietly developing their own worldwide exhibition network – Warner Bros. International Theatres – whilst at the same time expanding further the eighties’ ‘multiplex concept’ in the wake of earlier pioneer work by the AMC/UCI and erstwhile British EMI/Cannon circuits. Today’s Warner multiplex theatres, frequently mocked by purists – although quite erroneously – for their supposed clinical, futuristic appearance; their close corporate similarity; and somewhat ‘factory-like’ methods of exhibition, are examined in this book, the second in the Brantwood Outline History series, which begins with a superficial look at the origins of the Warner Bros. empire, followed by an examination of the multiplex phenomenon in general; and then, more critically, at the rapid development of Warner’s UK and European/worldwide multiplex circuits, part of which culminated in their 1996 merger with Australia’s most powerful exhibitor, Village Roadshow, to form Warner-Village Cinemas. Additionally, Warner Cinemas examines several identifying features of the theatre circuit, evaluating specifically their architectural and amenity merits – quite often a triumph of human logistics over environment – in addition to their extremely high standards of fit-and-finish which has helped in making Warner one of the world’s more prestigious players in the field. Amongst others, Warner Cinemas takes a look at the cinemas at Croydon, Leicester, Acton, Harrow and Oberhausen, and also at the 1938-established Warner West End flagship. Warner Cinemas - An Outline History, which will be strictly limited to just 1000 copies worldwide, has been written by BFI/National Film Theatre and Cinema Theatre Association member, Philip Turner with the co-operation of US Warner MD Millard L Ochs; UK Warner MD Peter Dobson; and Warner VP and circuit architect, Ira B Steigler.
Warner Cinemas – An Outline History

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