welt.de
Rome's Cinema Crisis: 45 Theaters Closed, Sparking Outcry
Over 45 Roman cinemas have closed recently, replaced by commercial spaces due to competition from streaming, pandemic losses, and a new Lazio law facilitating such conversions, prompting protests from cinema professionals and celebrities including Steven Spielberg and George Lucas, while the successful 'Troisi' cinema offers an alternative model.
- How does the new Lazio region law contribute to the closure of cinemas in Rome, and what are the economic incentives driving this trend?
- The closures are linked to a new Lazio region law facilitating the conversion of defunct cinemas into retail spaces, while prohibiting the same for existing ones. This incentivizes property owners to leave buildings vacant for years to maximize profits from retail sales, as exemplified by a comparison showing significantly higher returns from retail compared to cinema operations. Over 5000 cinema professionals, alongside Hollywood figures like Steven Spielberg and George Lucas, and European stars like Edward Berger, have signed a petition against this.
- What is the immediate impact of the closure of over 45 movie theaters in Rome and the broader trend of converting cinemas into commercial spaces?
- Over 45 movie theaters in Rome have closed in recent years, replaced by supermarkets, shopping centers, and luxury hotels. This trend, also seen in other cities, is driven by competition from the internet and streaming services, losses during the pandemic, and a perceived overabundance of mediocre films. A letter to Italian President Sergio Mattarella and Prime Minister Giorgia Meloni described the conversion of cinemas into commercial spaces as a 'grave offense' against the city's cultural heritage.
- What alternative models, like the 'Troisi' cinema, demonstrate potential solutions for ensuring the survival of cinemas in the face of competition from streaming and changing audience preferences?
- The success of the 'Troisi' cinema in Trastevere, a modernized venue with diverse offerings beyond film screenings (including coworking spaces), suggests alternative models for cinema survival. This model, supported by cultural funding, demonstrates that adapting to changing consumer habits and offering multiple revenue streams can ensure the long-term viability of cinemas. The continuing debate highlights the tension between economic pressures and the preservation of cultural heritage.
Cognitive Concepts
Framing Bias
The article frames the closure of cinemas in Rome as a cultural tragedy, emphasizing the loss of heritage and the protests against it. The headline (although not provided) likely uses emotionally charged language. The use of phrases like "schwerer Frevel" (grave offense) and the comparison to barbarian invasions strongly influences the reader's perception of the issue. While the article acknowledges the economic challenges faced by cinemas, the narrative prioritizes the cultural loss and the protests.
Language Bias
The article employs emotionally charged language, such as "schwerer Frevel" (grave offense) to describe the conversion of cinemas into commercial spaces. This strong language influences the reader's emotional response. Other examples include describing the change as a transformation from "Filmpalästen" (movie palaces) to "Paläste des Kommerz" (palaces of commerce), which sets up a stark contrast between cultural value and commercial greed. While the article is generally well-written and informative, the strong emotive language contributes to the bias.
Bias by Omission
The article focuses heavily on the closure of cinemas in Rome and the protests against it, but it omits discussion on the economic factors affecting cinema attendance in general, such as the rise of streaming services and changing audience preferences. While the article mentions these factors briefly, a more in-depth analysis of their impact would provide a more complete picture. The article also doesn't explore alternative solutions beyond the protest and the example of the "Troisi" cinema. This omission limits the reader's understanding of the range of possible solutions to the problem.
False Dichotomy
The article presents a false dichotomy between the preservation of cinemas as cultural heritage and their conversion into commercial spaces. It frames the situation as an eitheor choice, neglecting the possibility of finding a middle ground where both cultural preservation and economic viability can coexist. The example of the "Troisi" cinema suggests such a middle ground is possible but this possibility isn't fully explored.
Gender Bias
The article does not exhibit significant gender bias. While several prominent male figures are mentioned (Steven Spielberg, George Lucas, Renzo Piano, Edward Berger, Sergio Mattarella, Giorgia Meloni), the article also highlights the actions of the numerous individuals who signed the letter of protest, without specifying gender. The focus is primarily on the issue and the actions taken, rather than the gender of those involved.
Sustainable Development Goals
The closure of numerous cinemas in Rome negatively impacts cultural education and access to film, a significant medium for learning and cultural understanding. The conversion of cinemas into commercial spaces diminishes opportunities for cultural enrichment and engagement, particularly for younger generations.