1. Cineplex Inc. 2019 Annual Report, 23 March 2020, Canadian Securities Administrators (CSA), System for Electronic Document Analysis and Retrieval (SEDAR), 16.
2. Cineplex Inc. 2019 Annual Report, 15.
3. Cineplex Inc. 2019 Annual Report, 19.
4. See, for example, Alison Griffiths, Shivers Down Your Spine: Cinemas, Museums, and the Immersive View (New York: Columbia University Press, 2008); Richard Maltby, Daniel Biltereyst, and Phillipe Meers, eds. Explorations in New Cinema History: Approaches and Case Studies (Malden, MA: Wiley-Blackwell, 2011); Ross Melnick, American Showman: Samuel ‘Roxy’ Rothafel and the Birth of the Entertainment Industry (New York: Columbia University Press, 2012); Cara Caddoo, Envisioning Freedom: Cinema and the Building of Modern Black Life (Cambridge, MA: Harvard University Press, 2014); Ariel Rogers, Cinematic Appeals: The Experience of New Movie Technologies (New York: Columbia University Press, 2013); and William Paul, When Movies Were Theater: Architecture, Exhibition, and the Evolution of American Film (New York: Columbia University Press, 2016).
5. A major exception to this tendency is Charles R. Acland’s Screen Traffic: Movies, Multiplexes and Global Culture (Durham, NC: Duke University Press, 2003), which traces precursors to the contemporary dynamics studied here and offers an important scholarly model for the structural-cultural analysis of moviegoing.