Difference: CinemaShow ( vs. 1)

Revision 12023-07-12 - AydaSahimi

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> >	Cinema, like the seventh art, which is getting bigger nowadays due to its corporate identity, uses different methods to cover its expenses. A significant part of it is still a classic, that is, the money goes from the public purse to the box office, and has some system all over the world. After that, it comes to the good opinion of the supporters, which is a win-win for both parties. Because on the one hand, the seventh art has the power of millions of people who watch it and consider it as a great showcase for their products. A subtle form of advertising that should have a subliminal image and the viewer should not think that it is big and exaggerated. On the other hand, سریال producers use this method to reduce part of their costs and increase their risk tolerance. From home video production from Betamax and Umatic to VHS, new ways have been opened for moviegoers to watch their favorite works at home and on the small television screen. As a result, video studios were started to re-record, distribute and rent raw tapes after the end of the policy. (Quentin Tarantino) is one of those cinematographers, to be in this space, started their career working in the movie rental house and even wrote their first movie that was made in the early 90s in the space a! In post-revolutionary cinema, despite the secret and secret support of government agencies for the seventh art, the eyes of the producers of private companies are always on the box office, so there is a balance between income and expenses. At the same time, there are different types and manufacturers who pay close attention to this soft and important. For this reason, when we go to the list of the most watched movies of the sixties, we see a happy variety. From melodramas like: Dawoodi flowers by Rasool Sadr Aamili and Let's Live by Shapour Garib and beautiful action based on banned war like: Eagle by Samuel Khachikian and Kani Manga directed by Saifullah Dad. Nowadays, cinema for children and teenagers has been successful with movies like "Shahr Moushha" directed by Marzieh Broumand, "Golnar" directed by Kambozia Pertovi and "The Doll Thief" by Mohammad Directed by Reza, the artist broke records. After the box office, the hope of the Iranian cinema is the ability to sell film rights to television, airplanes and trains, which is considered for the producers of the records and low-quality books and possibly fill financial loss caused. from the failure of their work. In the 1970s, with the establishment of the Institute of Video Media, a new source of income was created for the weak point of the Iranian film economy: watching, deciding and paying. This process continued until the early 1980s, when Iranian cinema faced a serious threat called smuggling. From shooting low-quality video on the screen and the style and style of today's bootleg movies and high-quality leaked versions from other places, they all reached a point, and that is the forte drop to hear in the fall. Source: https://users.sussex.ac.uk/~tj86/platforms-and-economy-of-iranian-cinema.html

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Cinema, like the seventh art, which is getting bigger nowadays due to its corporate identity, uses different methods to cover its expenses. A significant part of it is still a classic, that is, the money goes from the public purse to the box office, and has some system all over the world. After that, it comes to the good opinion of the supporters, which is a win-win for both parties. Because on the one hand, the seventh art has the power of millions of people who watch it and consider it as a great showcase for their products. A subtle form of advertising that should have a subliminal image and the viewer should not think that it is big and exaggerated. On the other hand, سریال

producers use this method to reduce part of their costs and increase their risk tolerance. From home video production from Betamax and Umatic to VHS, new ways have been opened for moviegoers to watch their favorite works at home and on the small television screen. As a result, video studios were started to re-record, distribute and rent raw tapes after the end of the policy. (Quentin Tarantino) is one of those cinematographers, to be in this space, started their career working in the movie rental house and even wrote their first movie that was made in the early 90s in the space a!

In post-revolutionary cinema, despite the secret and secret support of government agencies for the seventh art, the eyes of the producers of private companies are always on the box office, so there is a balance between income and expenses. At the same time, there are different types and manufacturers who pay close attention to this soft and important. For this reason, when we go to the list of the most watched movies of the sixties, we see a happy variety. From melodramas like: Dawoodi flowers by Rasool Sadr Aamili and Let's Live by Shapour Garib and beautiful action based on banned war like: Eagle by Samuel Khachikian and Kani Manga directed by Saifullah Dad. Nowadays, cinema for children and teenagers has been successful with movies like "Shahr Moushha" directed by Marzieh Broumand, "Golnar" directed by Kambozia Pertovi and "The Doll Thief" by Mohammad Directed by Reza, the artist broke records.

After the box office, the hope of the Iranian cinema is the ability to sell film rights to television, airplanes and trains, which is considered for the producers of the records and low-quality books and possibly fill financial loss caused. from the failure of their work. In the 1970s, with the establishment of the Institute of Video Media, a new source of income was created for the weak point of the Iranian film economy: watching, deciding and paying. This process continued until the early 1980s, when Iranian cinema faced a serious threat called smuggling. From shooting low-quality video on the screen and the style and style of today's bootleg movies and high-quality leaked versions from other places, they all reached a point, and that is the forte drop to hear in the fall.

Source: https://users.sussex.ac.uk/~tj86/platforms-and-economy-of-iranian-cinema.html

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