Contrary to what public opinion thinks, the cinema in North America is one of the most intervened markets in the world. Since its successful foundation, halfway between the fairgrounds and technological advance, the economic and strategic interests embodied in this new popular entertainment were such that they forced the State to intervene with exemplary sentences for the maintenance of free competition against insurance. monopoly of the strongest companies. Large studios have always intimidated regulators with their power, but along the way, unions and professional associations have grown and have imposed mandatory rules that countries of the communist orbit already wanted for themselves. In a gripping latest episode of this war to uphold the rules of the free market in the face of the overwhelming strength of the big names, actress Scarlett Johansson has faced none other than Disney in court. His claim addresses the loss of profits, because when the film is released on its television platform, Disney stops fighting for huge profits at the box office and the actress sees her royalties associated with the operation in rooms.
The equation seems clear. Disney intends to save the campaign that has not just started in theaters with force, thanks to the increase in subscribers on its platform. It has happened all over the world, but the losers are those who benefited directly from the exploitation in theaters. Some will remember those cinemas that broke posters and advertisements for Disney movies because they refused to combine premieres in their theaters with the layout of the title on the platform. That has gone down in history, because the film business in the world has to swallow with the impositions of the big North American studios. But in your own country, the war will be more interesting. And Scarlett has the upper hand, so she’ll likely reach a substantial deal to make up for her lower ticket sales revenue. And so will directors, screenwriters and other actors who have seen their expectations diminished with the derivative to the platforms. The forgotten are those who have not even been able to release. No matter how much we turn to the conflict, the essence has to do with the collapse of the culture of going to the cinema. During the pandemic, the home screen and the mobile phone have been consolidated and this has robbed hours of social events, including going to the movies.
It would be stupid to grant the study of the future to the pythons. In Spain, for example, it would be enough to establish a comparison between the weapons with which the book sector has faced the pandemic versus the same fight in the movie industry. The book benefits from having the independent production center in Spain, also the fabric of the network of local bookstores and of course an adequate regulation in which the fixed price stands out as a milestone of salvation against the monopoly of the network. The cinema lacked all these weapons when it entered the pandemic, since we have cities of almost one hundred thousand inhabitants without a cinema, the North American distribution is abusive and the regulations have always been cowardly and contaminated by the force of other audiovisual sectors. Let’s definitely wait for our Scarlett.
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