Abstract
In Argentina, we have just achieved ten years of the application of a screen quota and continuity media, two policies that regulate film exhibition and which intended to protect national cinema. In this article, we perform an analysis of the evolution of por: the comsumption of films in movie theaters, in the light of the new regulation and of a series of changes that took place in the period. This analysis is based on quantitative and qualitative data from different sources, which allow us to delineate a panorama of the patterns of cinema-going. According to the analyzed data, movie theater is being split into two different territories: on the one hand, there are films “to be seen at the cinema”, and on the other hand, there are films “to be seen at home”. Argentinian cinema is mainly falling into the second category, with the exception of a limited set of films. And a special sector of spectators that support Argentinian cinema explicitly Finally, the box office of the cinemas is sustained principally on the good performance of children movies, sequels, 3D and films with high visual impact.
Key words
Cinema; Spectators; Movie theaters; Digitalization; Consumption
