Changes in technology - then and now

The Impact of Technology on the Film Industry

Area	Then	Now
Filming	1909 aerial shots with heavy aircraft-mounted cameras; props and sets often looked fake, with visible edges.	Drones use algorithms for angles/shot sizes; 3D printing makes realistic, customizable, scalable props that interact with actors.
Cameras	Film was costly for multiple takes; reels needed frequent reloading; scratches ruined scenes; actors only got verbal feedback.	Multiple digital cameras capture angles at once; DSLRs film in HD; unlimited takes; playback available instantly for actors.
Editing / Post-Production	Editing meant cutting and splicing film strips with a splicer and viewer.	Cloud collaboration allows global teamwork; advanced software creates seamless effects and imaginary worlds.
Animation	Characters hand-drawn on cels, layered on backgrounds; nonstop animation for realism; later CGI used to digitally ink/color cels.	Almost entirely digital using tablets, pens, sculpting tools; mocap suits record actors’ movements as skeleton animations; faster tech allows small teams to do studio-level work.
Promotion & Distribution	Relied on posters, magazine ads, billboards, print campaigns; marketing (e.g., sci-fi) required extensive research on timing/placement.	Self-distribution platforms market globally online; websites host interactive promo content; social media + hashtags target demographics directly.
Cost	Film stock expensive, limiting independents; special effects raised budgets; 1990s costs inflated by stars, agencies, and advertising.	Digital cameras cheaper and usable by small crews; crowdfunding platforms let audiences support films directly.
Consumption	Nickelodeons (5¢ theaters) increased access; 1970s VHS & laser discs boosted home profits but reduced cinema attendance.	By 2018, streaming/home video revenue surpassed cinemas; second-screen apps add interactivity; theaters upgraded with immersive audio tech.

Trends in Film Distribution & Exhibition

Trend	Key Points	Stats / Examples
1. Cinema programming diversifies	Cinemas no longer just show trailers + 1 film. Growing variety: crowdsourced screenings (ourScreen), live theatre broadcasts, gaming, immersive hybrids (Secret Cinema). Split into two models: “Big Cinema” (global spectacle) vs “Specialized Cinema” (local/cultural focus).	—
2. Declining teen audiences	Teen/young adult attendance consistently falling; seen as biggest threat by cinema owners. Streaming, social media, and other entertainment competing.	US: 12–24 = 34% (2009) → 29% (2016). UK: 15–24 = 35% (2011) → 29% (2016).
3. Rising older audiences	Older demographics growing; more mobility, longer life expectancy, nostalgia appeal. They want stories and quality over spectacle.	UK: 55+ ↑ by ⅓ (2008–2015). Big successes: The King’s Speech, The Best Exotic Marigold Hotel.
4. Indies boosted by older audiences	Independent arthouse dramas thriving because older audiences value quality over marketing spectacle. Indie producers increasingly target this group.	Around ½ of the most profitable indies each year succeed thanks to older audiences.
5. More films, harder competition	Number of releases ↑ sharply, especially small/medium films, but visibility ↓. Wide-release Hollywood films dominate screens.	US: 736 releases (2016), double 2000. Top 50 films = 75% of total box office.
6. Faster global rollouts	Piracy + social media hype force shorter delays between US and international releases. UK release gaps with US films nearly gone.	Gap: 135 days (2000) → just a few days (2016).
7. International revenue dominance	International revenue now Hollywood’s main income source → content made for global tastes. Risk: homogenisation and censorship (e.g. China).	Share: 35% (1990s) → 63% (2016).
8. Digital-first releases	Shift from DVD/Blu-ray to streaming/VOD as the “second window.” Streaming platforms now drive home-viewing revenue.	—
9. Shrinking cinema–home window	Exclusive cinema release period shrinking → cinemas fear fewer ticket sales as home viewing comes quicker.	Window: 171 days (2000) → 105 days (2017).
10. Decline of 3D cinema	3D peaked as a novelty, but audiences prefer cheaper, clearer 2D. Premium pricing backfired.	Peak: US 22%, UK 21% (2010). By 2016: US 7%, UK 14%.
11. Digital exhibition dominance	Digital projection replaced 35mm. Benefits: higher quality, cheaper distribution, better anti-piracy measures. Near-total transition by mid-2010s.	US: 95% 35mm (2006) → 97.8% digital (2016).
12. Rising ticket prices	Ticket costs rising faster than inflation. Pricing varies by location, time, format. Premium surcharges for 3D/IMAX. Reported averages hide “real” prices.	UK “real” avg = £9.84 vs official £6.72.