assignment movie theater

Mystery shopping in movie theaters

Entertainment , Mystery Shopping

If you’re a fan of movies, you may have just found yourself a way to get paid to go and see them by reading this. And it’s not by being a film critic (although, you’re more than welcome to provide a review on your own time). Every now and then you’ll come across a mystery shopping assignment that allows you to go to a movie theater and assess the staff, environment, and equipment efficiency.

It won’t be all fun and games though, you’ll have to go down a checklist of things to look into and take detailed notes to use later on when you file a report. Most of your work will come either before the film starts, right when it does or after it’s over. You’ll be looking for the conditions of the facilities and the behavior of the staff throughout various parts of the experience.

Luckily, you should still be able to enjoy the movie after you do most of the legwork. Here’s a list of things to look out for if you’ve gotten your hands on a movie theater mystery shopping assignment:

How convenient was parking? Do you feel safe at the theater? How do the facilities look from the outside? The client will most likely want to know if the appearance of their theater is welcoming or not because that could drive away potential customers.

What was the process like when you bought your tickets? Were show times displayed appropriately? If you were attending a matinee or a discounted time, were you made aware? This isn’t an opportunity to complain about how much movie tickets cost, but to focus on the ticket buying interaction.

Concessions

When you buy your concessions, make sure that you’re keeping track of the condition of the food and beverages. Was the popcorn stale? Did the cups look clean? Did the staff have everything you needed or were a large number of items out of stock? You can embrace your inner food critic here if you order something that has to prepared, but keep in mind that a lot of the food in movie theaters is made for convenience.

One of the most important things for you to take note of as a mystery shopper is the staff. A warm and welcoming staff could make the difference between a customer claiming a movie theater as their standard “go-to” and a one-time visit that they’ll tell their friends and family to never go to. Depending on the time of day you’re visiting the movie theater, you should also watch to see how the staff handles either a large crowd or one that’s much smaller during the slower periods of the day.

Cleanliness

How clean was the theater? If you’re walking through litter before a movie you should be sure to write that in your report. Movie theater employees are supposed to clean each individual theater after every showing so that customers don’t have to worry about their feet sticking to the floor. If the theater is remarkably clean, feel free to let them know.

Level of comfort

A consistent complaint made about movie theaters is that they’re always too cold. There are a few theories floating around as to why — to make up for all of the warm bodies in a closed space, to keep people awake, but no one really knows. If you feel that the theater you were in was so cold that you couldn’t enjoy the movie, or had to bring a blanket in mid-July, you may want to bring that to the attention of the client.

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Mystery Shopper Magazine

Movie theater assignments.

Overview: Movie theater assignments can be pretty fun and somewhat time consuming. They are assignments where you go into a movie theater and evaluate the associates, concessions, pop signs, patron counts, standees, movie posters and cleanliness. In some cases, you take pictures of extreme issues, such as: overly greasy foods, damage to the following: standees, fixtures, carpeting and kiosks.

Oftentimes, you take a picture of the box office (usually weekend shows). You are checking to see if the associates at the box office offer you a rewards card, which gives members free movie tickets,  popcor, or concessions for earned points. While at the box office, the client is looking to see if the theater has movie rating posters that are present and other certain types of signage, such as cell phone useage, rewards card signage, promotions, etc. They want to know if the box office associate is in proper uniform, wearing the name tag, and what method they use for your ticket.

Concessions : In most cases, you start out by ordering a small popcorn and drink, to see if they offer you an upsize, (larger size) or extras, such as candy, nachos, hotdogs, or bottled drinking water.

Observations : You must arrive early, between 30-45 minutes to count your time in the box office line, checking the restroom, getting your concessions, observing the arcade, going to your auditorium and beginning your patron count- oftentimes, up to 20 minutes after the movie starts. If you do not arrive early enough do to all these observations, your assignment will not be accepted. You should allow for heavy road traffic, long lines, heavy concession lines, lobby observations and getting inside to your appointed movie.

Requirements : In most cases, your shopping rating needs to be at least 5 to be accepted for the projects. You must be at least 18 years old, and most mystery shopping companies require you to accept Paypal as their method of payment.

Estimated Pay: The shopper pay is usually $10 and the expenses (movie tickets) are reimbursed and they usually offer you up to $20 reimbursement for the movie ticket, in case you take someone with you. You also get reimbursed for your concessions, usually about $20. You can order a small popcorn and a small drink and that will cost about $12.50 and if you are upsold to a larger drink, this usually is covered in the $20 reimbursement.

Project Variations: Movie theater assignments can be fun and rewarding to those who enjoy the latest movies. It is nice to be compensated for a movie and concessions, especially if you were going to go see that movie anyway!

Mystery Shopping Companies that offer movie theater shops: Service Check and HS Brands. Other companies that have offered movie theater projects are A-Closer Look. There may be other companies that offer movie theater assignments but I have not seen them.

Some posters have said Confero and ICCDS offer movies but thus far, I have not ever seen movie assignments being offered by these two companies but since I have seen other shoppers say they do, I have listed them in the contact information below.

What is Movie Theater Shop vs. Theater Checks? Theater Checks are where you enter a movie auditorium and count patrons and other various observations. The manager you report to, may fill out a form to show you how many tickets were sold. Some refer to it as an “open check” You count the numbers of patrons, which trailers are shown, note audience reactions, comment on service you received, what employees were doing when you observed them, note if the usher checked the auditorium and how many times, and most theater checks require you to be in the movie theater all day, to correctly perform all the checks. Some companies allow you to see a movie of your choice and some have you watch a certain movie of their choice. One of the main companies to offer movie theater checks are:

Market Force

Market Force Theater Checks: To be considered for a CFA (Certified Field Associate) you must register

https://www.certifiedfieldassociate.com/

(Market Force) Most of these assignments are conducted on Friday, Saturday and Sunday.

• Trailer Checks: Present your Letter of Authorization to theater management to watch and record all trailers on all screens shown prior to the assigned feature.
• Open Checks: Present your Letter of Authorization to theater management to count the patrons attending the showtimes of the assigned feature, and collecting box office information at the end of the day.
• Blind Checks: Covertly counting patrons attending all show times of the assigned feature on the assigned day.
• Advertisement Checks: Watch and record all advertisements shown prior to the feature.
• Sneak Checks: Present your Letter of Authorization to theatre management to watch a sneak preview of an upcoming release, collecting reactions and demographic information.
• Comprehensive Checks: Present your Letter of Authorization to theatre management to collect a variety of information on new releases: Patron counts, ticket prices, sound and visual quality, trailers shown, etc.

Mystery Shopping/On-site Evaluations: Posing as a typical customer, usually without the theater personnel’s knowledge, you would go to a theater to evaluate the movie-going experience. This includes an assessment of how you are treated as a customer, the overall appearance, housekeeping, & marketing and/or promotional material placement.

Promotional Material Installations: Involves assembling movie standees, installing one-sheets (movie posters), banners, etc.

Exit Polling/Trailer and Advertisement Recall/Market Research: Various types of movie audience data is collected at theaters on behalf of movie studios, and is used to assess public opinion of current and upcoming movie releases.

On-site Auditing: This involves such tasks as counting/confirming placement of promotional materials, counting people, and a variety of other related activities.

Below are links to the companies that offer movie theater assignments.

http://www.hsbrands.com/

http://www.servicecheck.com/

http://www.a-closer-look.com/

https://www.conferoinc.com/

http://www.iccds.com/

https://www.certifiedfieldassociate.com/    (Market Force)

What others have to say: Most of shoppers seem to love going to movies! To know you are being paid to watch your favorite movie and get some free popcorn and a drink, what could be better? I have not heard of many complaints but some shoppers do not like the movie theater check assignments because it involves the whole day and many observations. It seems the pay is good though if you plan a day spending it in the movie theater.

Comments are closed.

The Mystery Shop Maven

What you need to know about movie theater checks.

If you’ve never done a movie theater check assignment, you’re missing out on a great opportunity to make some relatively easy money. There are some nuances to this type of mystery shop that you need to know before you start out.

What Is It All About? The good news on a movie theater check is that there is relatively little interaction with the staff. Your assignment is to ensure the proper previews are showing at the beginning of a movie and to report back on how the audience reacts to the previews. Unlike with other types of mystery shops, you won’t have to purchase an item or take the time to return your purchase on a second visit. You also don’t have to check fitting rooms, converse with employees on certain subjects, or any of the other tasks you are normally required to do on a standard mystery shop assignment at a retail store.

Your time commitment is fairly minimal. With a movie theater check, you aren’t required to sit and watch the entire movie. You just need to watch about ten or fifteen minutes of previews. And the best news is that the report is relatively light. You usually won’t see a 60 question report with a movie theater check, although you may see more narrative or free-writing questions.

Are You Getting More Than You Bargained For? Read the assignment requirements very carefully before accepting the job. Some movie theater checks will require you to check the previews in all of the theaters playing a certain movie. If you catch a blockbuster on the first week or two that it is showing, this may mean you are checking three, four, or even more theaters. What this means to you is a considerably longer time commitment, so make sure you can manage that time commitment in your schedule. Keep in mind your downtime between movies as well. Doing four theater checks may equate to significantly longer than what initially may seem like 60 minutes at the theater. There will be down time between the movie start times. So what may initially seem like a one hour commitment may actually be two hours or longer depending on when the movies actually start.

Your assignment requirement typically will not clearly indicate how many theaters you will have to check, but simply say “all theaters.” So you will have to do some outside research and check the theater listings for a future date.

Time Is Of The Essence. With many types of mystery shopping assignments, the job starts when you get there and it ends when you leave. A movie theater assignment starts when the previews begin, so you need to be sure to be at the movie theater well ahead of the scheduled start time for the movie.

Movie theater checks are a nice change of pace from your standard mystery shop assignments. You can make great money for the work involved, and if the theater staff doesn’t mind you may get to sit through a movie for free. Just read through the assignment requirements carefully and be on time for your movie!

• Rough Cut Staff
• Jun 1, 2021

A Guide to Movie Theater Seat Selection

Most of us went more than a year without walking into a movie theater. Don’t be like me; don’t be stricken by paralysis when you pull up the seating chart for your favorite local cineplex and have approximately 4:51 seconds left to make your selection and checkout. Eventually, we may even be able to walk into a theater without a preselected seat. What will you do? Will you panic, your decision-making brain-muscle left limp from months of neglect? Or will you rise to the challenge?

Here’s a guide to quick and efficient movie theater seat selection. Well, it’s less of a guide, really, and more of a subjective walkthrough of the decisions I would make. But those decisions are correct. On to it, then.

Okay, here’s what we're working with. I walk into the theater and take a quick scan. What am I taking?

TIER 1: Cinematic Bliss

Boom, back row. There’s no one behind me. I cannot emphasize this enough: There. Is. Nobody. Behind. Me. Nobody jostling me as they go to the bathroom. Nobody putting their feet on or near my seat, and therefore near my face. Nobody whispering or munching or anything. Bliss behind me. +5.

Keep in mind that if this is a much bigger theater - especially if the screen isn’t correspondingly larger - I might not go straight to the back row. You don’t want to risk being too far away. But with this map, I’m in good shape.

But no! I head up to the back row and some jamoke elbows me out of the way and thumps down into K-4, a tub of buttered up popcorn spilling all over his lap and the two seats next to him. No way I'm sitting next to this guy. What do I do now?

Second row back from the main aisle. Don’t be an idiot and sit in that front row of the back section. I know it seems appealing. Nobody in front of me! An unobstructed view! No. Don’t be an idiot. You get an unobstructed view of whatever fluorescent lights the theater uses to line the area. An unobstructed view of every time some joker goes to the bathroom or to get an extra large soda refill in the middle of the goddamn climactic scene. Take that second row. Not too many people in front of you, but a buffer from the bad stuff. G 5-7 also pushes you a bit away from the entrance/exit, crucial for minimizing distractions.

But what if that's taken? On to your final Tier 1 option...

Depending on the situation, I might hop on over to I 10-12. Some of you might have picked this spot first - the classic Middle-Middle. But look, you don’t want to sit here if you have to get up a lot during movies. Everyone is allowed to pick 2 movies per year in which they can sit here - more if you see more movies. We’ll say ~10% of your moviegoing trips can be in this area. You’ve got the best view of the screen, no doubt. And nobody is walking past you to get to the bathroom - the people to your left are going left, the people to your right are going right. But you, my friend, are walking by everyone. So don’t move a damn muscle when you sit here.

TIER 2: Serviceable

We're on to the next tier. None of these are ideal, but I’m also not cranky about them. Here's what we're looking at now. Excuse the 3rd grade level graphic.

We start with...

The front section isn’t that bad!! It has an awful reputation, but if you get a prime seat in the back row, you avoid people bumping your chair or resting their stanky feet on it, and during this not-quite-post-pandemic period, there’s also nobody breathing directly on you. Unlike your counterparts in the front row of the back section, you don’t have the path lighting right in your field of vision. And you’re far enough back that you’re not going to develop spinal problems from an awkward neck angle. Sure, there will be some rustling every time someone walks behind you, but there are worse things. Let’s gooo!

Okay, yeah, the front row of the back section is tough, like I described earlier. But if you’re going to do it, take advantage of the opportunity to plop yourself down into the middle of a row without having to shimmy out any time you need to leave the theater. Sit here when you goofed and had a giant soda before the movie even started. Sit here when you decide to live on the edge and have a spicy dinner before the movie. You get a good view and you don’t piss off anyone when you have to sprint to the bathroom.

Okay, this is very movie-dependent. A 90-minute rom-com? Take this one over the others remaining at this point. It’s not the end of the world if you can’t see the entire screen all at once, and the short runtime means your neck won’t be too sore. But if you’re getting a visual feast - especially one that runs over 2 hours - take a crappy seat in the back section over these ones.

TIER 3: OK, fine, I will watch

Tier 3. At this point, I'm pretty annoyed at myself for showing up so late, and at my fellow moviegoers for their excellent strategic approach to seat selection. But I'm still at the movies, so I'm happy enough. Which bad option do I take?

Here's what's on the board.

This spot has everything that’s good and bad about F 8-11, except now you’re also right by the entrance, so everyone is going up and down the stairs right next to you. And you have the path lighting both in front of you and to the side, illuminating the wide open space by your feet and the stairwell in your periphery. It's not good, but there's an easy exit if the movie is trash and your experience is below par, and at least you have leg-room.

You may have figured this out by now, but I’m extremely averse to path lighting. As a concept, it’s fine. I appreciate not falling flat on my face with a full bladder as I try to tiptoe-run to the bathroom. But movie theaters love incredibly blinding halogen lights, so when I’m sitting at the edge of a row, I’m basically blind in one eye, leaving the other eye to futilely attempt to remain undistracted and take in everything that’s happening on screen. This is probably my most controversial take, but these two seats - especially J-20 - are worse than everything else listed thus far. The ability to exit quickly in a movie theater is overrated; this isn’t an American Airlines shuttle flight from D.C. to Boston.

TIER 4: Probably Just Going Home

You arrive late and see this two groups of seats left.

If this is what’s left, I will probably go home. If there's a filmmaker Q&A after, I might stay.

If this is what’s left, I will definitely go home. If there's a filmmaker Q&A, I still will not stay, because I don't want to be face-to-face with someone after watching the art they spent untold hours and money on in the worst possible conditions.

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“ The Assignment ” is a film that arrives in theaters having already inspired vast outpourings of anger from two groups —the transgender community, which appears to be offended by its very premise, and action buffs, who are put off both by the premise (albeit for different reasons) and what they feel is a lazy execution that fails to offer the requisite thrills. While I am sympathetic to the complaints of both groups (somewhat more for the former) and recognize that it is indeed deeply flawed in many areas, I cannot quite agree with either. This is a modestly scaled B-movie by one of the best genre filmmakers of our time, Walter Hill , that has enough skill and personality going for it to make it worth checking out, even if it doesn’t quite live up (or down, depending on your perspective) to its borderline sleazy premise.

And what is that premise, you ask? In a nutshell, Frank Kitchen ( Michelle Rodriguez … just keep reading) is a ruthless San Francisco hitman who runs afoul of Dr. Rachel Kay ( Sigourney Weaver ), a brilliant but deranged surgeon who has lost her license for conducting various rogue experiments. Frank kills Dr. Kay’s brother, and the good doctor seeks vengeance and experimental research into the importance of physical identity on the psyche. She arranges with crime boss Honest John Hartunian ( Anthony LaPaglia ) to have him grab Frank and bring him to her secret lab, where she proceeds to perform gender reassignment surgery on him. Dr. Kay asserts that the surgery will take away Frank’s desire to kill. Needless to say, Frank sees things a little differently, and, once she discovers that the surgery cannot be reversed, she methodically hatches a grisly revenge plot on everyone involved with her transformation from Honest John and his goons all the way up to Dr. Kay. Helping Frank in her quest is Johnnie ( Caitlin Gerard ), a nurse with whom Frank had a one-night stand before his transformation and who doesn’t seem particularly nonplussed by recent developments, though it seems that she may be harboring a few secrets of her own.

At first blush, one can easily understand why the transgender community might be a tad put off by the very existence of “The Assignment,” but the actual film is nowhere near as offensive as it might initially seem. For one thing, the film as a whole is so willfully and deliberately pulpy in tone (I could easily see a short version of this tale fitting perfectly into the confines of a “ Sin City ” film) that it is hard to take the alleged provocations on display with any degree of seriousness—this is a film that is so archetypal in nature that the sort-of sweethearts at its center are literally named Frank(ie) and Johnnie. Additionally, to suggest that Frank is meant to represent all transgender people is nonsense because he is clearly not one himself, and, outside of the obvious physical construct, little about him changes after undergoing his forced surgery. I would also point out that no less of a filmmaker than Pedro Almodovar used the notion of unwilling gender reassignment surgery as a plot point in his own unabashed genre exercise, “ The Skin I Live In ,” and no one seemed especially put off by it even though the deployment there was arguably more questionable from a taste perspective than what is seen here.

That said, “The Assignment” is still a problematic work in many ways from a purely cinematic perspective. The screenplay by Hill & Denis Hamill (which Hill has been toying with since the late ‘70s) is an awkward construction with much of the story presented in a series of flashbacks, as the now-incarcerated Dr. Kay recounts the story to another psychiatrist ( Tony Shalhoub ). This concept is especially problematic since Hill is at his best when he allows characters to define themselves purely through their actions instead of relentlessly explaining themselves as they do here. The film also screams out for a more overtly stylized visual treatment in the vein of something like his great “ Streets of Fire ”—a fact underlined by the occasional bits of black-and-white photography and comic book-style transitions—that might have also helped to underscore the kind of pulpy approach Hill was clearly going for. Another big problem, at least at first, is the casting of Michelle Rodriguez as Frank. There is nothing wrong with her performance but the early scenes in which she portrays the male version of Frank, complete with a wildly unconvincing beard and a lingering close-up of his genitalia for good measure, do inspire a few bad laughs right when the film is trying to establish itself. For some viewers, it may never recover from that.

For those who can get beyond that, “The Assignment” contains plenty of points of interest. Sigourney Weaver is pretty much a blast throughout as the snidely condescending doctor who sets all of the events into motion. As for Rodriguez, once she sheds the beard, her performance improves greatly. Obviously, we know she can do the steely-eyed badass stuff as well as anyone else but she also gets a couple of quieter moments amidst the chaos where she displays a more vulnerable side without stepping out of character—in one, she consults a doctor about whether the surgery can be reversed and begins shyly inquiring about certain personal details regarding her new equipment. In the other, she is about to go to bed with Johnnie when she realizes that she has no idea of how to approach lovemaking from a female perspective. (“You’ll do fine,” she is reassured in a line that is both funny and strangely touching.) As for Hill, while he is clearly working with a lower budget than usual here (with Vancouver substituting, not too convincingly, for San Francisco), he is still able to establish a convincingly noir attitude toward the material and the scenes of violence are done in a spare and economical style that is a relief from the over-the-top pyrotechnics of most current action films. (He also gets bonus points for employing Giorgio Moroder to deliver a cheerfully retro synth score.)

It is easy to see how the dramatic excesses of the plot could prove offensive to the transgender community, though I can just as easily see “The Assignment” one day becoming a cult favorite in the way that the once-controversial “ Cruising ” would eventually find some fans within the gay community that once scorned it. As an exercise in unapologetic pulp fiction, it gets the job done in a smart, efficient and slyly subversive manner. As the latest entry in the Walter Hill filmography, it definitely belongs on the second tier. Even though it may not be the equal to a classic like “ The Driver ” or “Streets of Fire,” it will do until that next masterwork does come along.

Peter Sobczynski

A moderately insightful critic, full-on Swiftie and all-around  bon vivant , Peter Sobczynski, in addition to his work at this site, is also a contributor to The Spool and can be heard weekly discussing new Blu-Ray releases on the Movie Madness podcast on the Now Playing network.

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The Assignment (2017)

Rated R for graphic nudity, violence, sexuality, language and drug use.

Michelle Rodriguez as Frank Kitchen / Tomboy

Sigourney Weaver as Dr. Rachel Kay

Tony Shalhoub as Dr. Ralph Galen

Caitlin Gerard as Johnnie

Anthony LaPaglia as Honest John Hartunian

Paul McGillion as Paul Wincott

• Walter Hill

Writer (story)

• Denis Hamill

Cinematographer

• James Liston
• Phil Norden
• Giorgio Moroder
• Raney Shockne

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ASSIGNMENTS, PROJECTS, AND ACTIVITIES FOR USE WITH ANY FILM THAT IS A WORK OF FICTION

Topics for All Writing Assignments, including essays: Topics for writing assignments can be suggested by (1) a topic set out below; (2) questions in TWM’s Discussion Questions for Use with Any Work of Fiction Shown on a Screen ; and (3) any discussion question or proposed writing assignment contained in the Learning Guide for the movie.

Short Writing Assignments

Topics for short writing assignments can include the contribution to the film’s story made by one of the following: (1) a cinematic element, such as music; (2) a theatrical element, such as lighting; or (3) a literary element of the film’s story, such as expository phase, theme, plot, conflict, symbol, or characterization. Topics for short writing assignments can also include:

1. What was the strongest emotion that you felt when watching the film?

2. What did you learn from this movie?

3. Which character did you [admire, hate, love, pity] the most?

Journal Entries:

Students can be assigned to write a journal entry, either in class or as homework, responding to the events or episodes in the movie as it progresses. The journal may or may not be focused on one topic; topics can change each day.

Sample Assignment:

We are going to be watching the movie, “Remember the Titans,” for part of the class period each day this week. As homework, every day after a class in which we watch the film, I’d like you to write a short journal entry about your reactions to the movie so far. [Describe the length of the entry desired or the amount of time students should spend writing the entry.]

Ruminations:

Students can be required to write ruminations in which they respond to the motivations, values, or attributes of characters in the film.

Sample assignment:

We are going to be watching the movie “Cyrano de Bergerac.” After you have seen the movie, please write a page or two of your thoughts about whether Cyranno was a bully. Include a comparison of his actions in the play to those of a bully you know or have heard about.

Single Paragraphs:

Students can be asked to write a single paragraph about an element of a film and how that element contributes to the story or to the artistic presentation.

Write a paragraph about the use of camera angle in the scene in which Dorothy first meets the Wizard of Oz. The topic of your paragraph is: “What does the camera angle add to the scene?” The paragraph should have a topic sentence, citations to evidence to support the point being made, and a conclusion.

Quickwrites:

Students can be asked to write without preparation and in a set period of time, their thoughts or observations on a topic selected by the teacher. Quickwrites often become a ritual at the beginning of each class.

“To Kill a Mockingbird” ends with two ironic twists. Name one of them, describe why it is ironic and what theme of the story is highlighted by the ironic events.

Essays - Formal and Persuasive

Topics for Formal or Persuasive Essays with Research Outside the Confines of the Story

Historical Accuracy:

Students can research and evaluate the historical accuracy of the film or of a scene in the film and, where inaccuracies are found, students can theorize about the filmmakers’ reasons for making the change from the facts.

Historical, Cultural, or Literary Allusions:

In many films, historical, cultural, or literary allusions are important in conveying ideas. Students can be assigned to investigate one or more of these references.

Differences Between the Book and the Movie:

When a movie is based on a book, students can be asked to describe those differences, ascertain whether the movie is true to the story told by the book, and make a judgment about whether the changes made by the movie improved the story.

Themes and Messages:

Students can be asked to identify and evaluate, using research from sources other than the film, the wisdom of any theme or message which the filmmakers are trying to convey.

Issues of Interest Relating to the Subject Matter of the Story:

All films present issues of interest to the audience aside from the story itself. For example, the concept of attachment disorder is important in the film “Good Will Hunting” even though the film can be appreciated without knowing much about the disorder. However, the film may motivate students to research and write an essay about attachment disorder. The movie “October Sky” refers to the early U.S. and Russian space programs. Students who have seen this movie can be assigned to write an essay about what has occurred in space exploration in the last twenty years and how it differs from what occurred in the 1950s and 1960s.

Topics for Essays Based on an Analysis of the Film

Literary Elements and Devices in the Story Presented by the Film:

These include the plot, subplot, theme, irony, foreshadowing, flash-forward, flashback, characterization, and symbol. Students should be required to describe the use of one element or device and its contribution to the overall message of the film. TWM offers a Film Study Worksheet to assist students in organizing their thoughts for this assignment.

Cinematic Elements in the Film:

Cinematic elements include shot (framing, angle, and camera movement), sound (including music), lighting, and editing. Students can be asked to identify and discuss the cinematic elements in an entire film or to focus their analysis on a particular scene. The analysis can be limited to the use of one cinematic element or it can include several. Students should be required to describe the use of the cinematic element as well as its contribution to the overall message and artistic presentation of the movie or the scene. See the TWM student handout: Introducing Cinematic and Theatrical Elements in Film . TWM also offers a worksheet to help students identify theatrical elements in a film. See TWM’s worksheet entitled Cinematic and Theatrical Elements and Their Effects .

Theatrical Elements in the Film:

Theatrical elements found in movies include costumes, props, set design, and acting choice. Students can be asked to identify and discuss the theatrical elements in an entire film or to focus their analysis on a particular scene. The analysis can be limited to the use of one theatrical element or it can include several. Students should be required to describe the use of the theatrical element as well as its contribution to the overall message and artistic presentation of the movie or the scene. See the TWM student handout: Introducing Cinematic and Theatrical Elements in Film . TWM also offers a worksheet to help students ” identify theatrical elements in a film. See TWM’s worksheet entitled Cinematic and Theatrical Elements and Their Effects .

Creative Writing Assignments and Film Critiques

Creative Writing Assignments:

Tasks which will stimulate students’ creativity include: (1) write a new ending to the story; (2) add new characters or new events to an existing scene and show how the story changes as a result; (3) write an additional scene or incident, with its own setting, action, and dialogue; (4) expand the back-story of one of the characters and make it into a separate story; (5) write a letter from a character in the story to the student, or from a character in the story to the class, or from one character in the story to another character in the story, or from the student to a character in the story; (6) outline, storyboard, or write a sequel.

Imagine that Jean Valjean is still mayor of his adopted town of Montreuil-sur-mer. You are Bishiop Myriel, the man who had faith in Jean even though Jean stole his candlesticks and other silver. Jean has requested that you write a letter to Javert asking Javert to leave Jean Valjean alone. What would you say in that letter? Think about the nature of the man the Bishop is trying to convince, the tone he would take, and the arguments he would present. [Describe the length of the letter.]

Film Critiques:

Some students will enjoy writing a review of the movie, possibly for publication in the student newspaper. Students should be instructed to make sure that they cite evidence to support their views.

Imagine that you are a film critic for a major newspaper. Write a critique of the film, “The Outsiders.” Be sure to support your conclusions with evidence and logical arguments. [Describe the length of the critique.]

Other Assignments, Projects, and Activities

Mock Interviews:

Students can work together in groups of two to write and perform a mock interview in which one plays a character in the film and the other takes on the role of the interviewer. The answers should reveal the values of the character.

Many films offer controversial social or political ideas which can easily become the topic of vigorous debate. Students can be divided into teams to support or oppose an idea presented by the film.

The Great Divide Separate the class into two groups representing sides taken on a particular issue. Students in support of the point should sit together facing those opposed to the point. Students should use the rules of Accountable Talk to argue their positions. Accountable Talk requires that students listen carefully and adhere to a code for responses to one another’s words. Each respondent must begin his or her point with phrases such as:

I hear what you are saying, but . . . Your point is good; however, I want to say . . . I’m unclear about what you mean . . . Granted, your point has validity; however, consider . . . I understand what you are saying; however, the facts are . . .

Students may not resort to name calling or any other insults and must back up their points with reference to the work being discussed. When students hear points that cause them to change their minds, they must get up and take a seat on the other side. Often, an entire class will become convinced of one position and all seats will be moved to one side of the room. Pro-con T-Chart organizers or any other form of note taking can be beneficial so that students can refer to points they felt were important when it comes time to write their essays.

Socratic Chairs:

Place a number of chairs at the front of the room and select appropriate students to fill them. These students will serve as a panel to discuss the issue that must be resolved or at least clarified so that the students can write their essays. Students remaining in their desks should take notes using a graphic organizer, such as a pro-con T-Chart, and can ask questions either during or at the end of the panel’s discussion. Sometimes students may want to relinquish a chair to a member of the audience in order to further the point he or she is making. Vary the rules to fit the goals of the discussion but keep to the rules of Accountable Talk.

Creative Projects:

Students can be given the opportunity to compose poetry, music, song, or dance relating to an idea in a film. They can also produce a film or create a painting or a poster.

Written by Mary RedClay and James Frieden .

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Reading assignment: The movie theater

Grade 3, 4, 5

About This Product

TABLE OF CONTENTS

p.4 Predictions, level #1

p.5 Prior knowledge, level #1

p.6-7 Text, level #1

p.8 Reading strategies, level #1

p.9 Creative questions, level #1

p.10 Making connections, level #1

p.11 Favorite passage, level #1

p.12 Text critic, level #1

p.13-14 The comic, level #1

p.15 Title: assignments, level #2

p.16 Predictions, level #2

p.17 Prior knowledge, level #2

p.18 Text (to illustrate), level #2

p.19 Text with illustrations, level #2

p.20-21 Reading strategies, level #2 

p.22-23 Questions, level #2

p.24-25 Answer keys, level #2

p.26 Creative and critical questions, level #2

p.27 Making connections, level #2

p.28 Text critic, level #2

p.29 Favorite passage, level #2

p.30 Transforming: new knowledge, level #2

p.31-33 The comic, level #2

p.34 Imagine that you are…

p.35-36 Rubric for assessment

p.37 Crédits des cliparts

What's Included

1 pdf and 37 pages

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A History of The Actors Studio

Written by Andreas Manolikakis

The Actors Studio was founded in New York by Elia Kazan, Cheryl Crawford and Robert Lewis in 1947. For seven decades it has been devoted to the service and development of theatre artists –actors, directors and playwrights. To our members, who are primarily actors, The Actors Studio offers free lifetime membership, with no fee or tuition required, which entitles them to a unique opportunity to explore and improve their craft in a safe, laboratory environment with colleagues with whom they share the same process of work.

The roots of The Actors Studio go back to the Group Theatre (1931-1941) whose work was inspired by the discoveries of the great Russian actor and director Konstantin Stanislavski and his best student Eugene Vakhtangov as revealed in the legendary productions that the Moscow Art Theatre toured in America in 1923. In fact Stanislavski’s dedication to his book, ‘My Life in Art,’ (1924) reads: “I DEDICATE THIS BOOK IN GRATITUDE TO HOSPITABLE AMERICA AS A TOKEN AND A REMEMBRANCE FROM THE MOSCOW ART THEATRE WHICH SHE TOOK SO KINDLY TO HER HEART.”

When the Moscow Art Theatre ended its American tour, several members of the theatre stayed behind and trained artists, including Lee Strasberg, Harold Clurman and Stella Adler, who would go on to form the Group Theatre along with other artists such as Elia Kazan, Sanford Meisner and Robert Lewis. These artists studied, explored, developed and improved the work of the Russian masters with extraordinary results that were unique in the history of the American theatre and a new kind of acting was born.

After the Group Theatre closed, in 1941, many of its members went their separate ways. Elia Kazan has stated that one of the principal reasons he created The Actors Studio, in 1947, was in order to preserve and develop this new American acting. He wanted to create a not-for-profit organization that would provide a laboratory, a private workshop in which the professional actor could work on his or her craft, far away from the commercial pressures of casting, rehearsal and performance. It was to be a place that would offer its member-artists an ongoing training, a continuity of work and the feeling of an artistic home like they had at the Group Theatre.

At the Studio, it was eventually decided that membership should be achieved through an audition process of preliminary and then final auditions where the only requirements are talent and the possibility of improvement.

In 1948, Lee Strasberg was asked by Elia Kazan to join the Studio as one of its teachers and in 1951 he became its Artistic Director, a position he maintained until his death in 1982. Strasberg’s deep understanding of the Stanislavski System and the reformulations of Vakhtangov, together with his own personal discoveries and improvements on the acting process, provided the foundation on which The Actors Studio based its work.

At the same time, the work of Elia Kazan as a theatre and film director demonstrated in the most powerful way the extraordinary results of the deep and personal process of acting espoused by The Actors Studio.

For seven decades, the very existence of The Actors Studio, the principles and values that it represents, the methodology of its work process, its consistency and long life have established the Studio as a unique theatre organization and a guiding light for actors, directors and playwrights around the world. For many it is considered the temple of the acting process.

Today the work that is done at The Actors Studio continues the Stanislavski-Vakhtangov-American approach, and most of the leading members of the Studio today have studied with more than one of these great American teachers: Lee Strasberg, Harold Clurman, Elia Kazan, Stella Adler, Sanford Meisner and Robert Lewis.

Currently, Ellen Burstyn, Alec Baldwin and Al Pacino serve as co-Presidents of the Studio. Beau Gravitte serves as Artistic Director in New York and Salome Jens and Lou Antonio serve as interim co-Associate Artistic Directors in West Hollywood at our Actors Studio West branch, which opened in 1966. The Actors Studio is governed by a Board of Directors comprised of members from both coasts.

After 70 years, The Actors Studio continues to thrive because it is needed. Goethe has said that, “The actor’s career develops in public, but his art develops in private.” The Studio provides its members with this special kind of privacy, along with a group of colleagues who share the same passion for what Studio members refer to as “The Work.”

In spite of the presence of The Actors Studio over many years and its extensive influence in America and worldwide, there still persist many misunderstandings of the Studio, its mentors, its philosophy and its process. These errors most often arise from discussions by some academics, theoreticians, historians and even by some theatre professionals who attempt to analyze and interpret a process of work that they have never learned through serious practice. The work of Stanislavski, Vakhtangov and The Actors Studio was arrived at through deep and lengthy practical experiments that elude rational analysis by non-practitioners.

In 1994 The Actors Studio entered a major new phase with the creation of The Actors Studio Drama School MFA (Master of Fine Arts) Program in acting, directing and playwriting, in order to bring the Studio’s method into a university setting. In September 2006, the Actors Studio Drama School moved to Pace University in downtown New York City, which also is the home of one of the program’s most visible teaching platforms, INSIDE THE ACTORS STUDIO, hosted by James Lipton.

Andreas Manolikakis is a Board Member of The Actors Studio and Chair of The Actors Studio Drama School at Pace University in New York City.

THE 10 BEST Moscow Movie Theaters

Movie theaters in moscow.

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• 4.0 of 5 bubbles & up
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• 3rd Transport Ring (TTK)
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• Things to do ranked using Tripadvisor data including reviews, ratings, number of page views, and user location.

1. Cinema Secret

2. Cinema Karo Sky 17

3. Cinema Pioner

4. Illusion Cinema

5. Kinosfera IMAX

6. GUM Movie Theater

7. Cinema Kosmos

9. Cinema Star Erevan Plaza Movie Theater

10. Moscow Cinema

12. Panorama cinema

13. Cinema Formula Kino Europe

14. Cinema Oktyabr

15. Pyat Zvezd

16. Center of Documentary Cinema

17. Vremena Goda

18. 35mm Cinema Hall

20. KinoNoch

21. Garage Screen summer cinema

22. Rolan Cinema

23. Loft Cinema

24. Romanov Cinema

25. karo 8 yuzhnoye butovo.

26. KARO 7 Kirgiziya

27. Anti Cinema Kino Khauz

28. Cinema Pobeda

29. Lyuksor

30. fifth dimension 5d cinema-attraction, what travelers are saying.

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Moscow theater performance of 'Anna Karenina' to play at a cinema near you

Olga Lerman as Anna Karenina.

The Vakhtangov Theatre's interpretation of Leo Tolstoy’s famous novel, Anna Karenina , is screened in cinemas across the U.S., UK, and Ireland. It’s a ballet performance directed and choreographed by Angelica Cholina, set to the music of Alfred Schnittke.

Anna Karenina premiered in cinemas on Jan. 19, and it will be shown until the end of March. To see the viewing schedule and country map click here .

"We chose Anna Karenina because it is a personal favorite of mine," said Eddie Aronoff, founder of Stage Russia HD, the company behind the idea to turn the performance into an international cinema event.

"I watched it for the first time on the Vakhtangov's live online broadcast, and while the three stationary cameras don't really capture the true breadth of the work, I was blown away by the performance," said Aronoff. "I actually stood up and applauded in my pajamas in my bedroom. When I saw it live, it was even more stunning. Olya Lerman [as Anna Karenina] is remarkable and Angelica Cholina is a genius."

Stage Russia HD and Eddie Aronoff have already organized cinema event performances of Russia's leading theaters - Vakhtangov Theater’s Eugene Onegin , and the Moscow Art Theater's The Cherry Orchard .

Another Chekhov's story, The Blank Monk in adaption of The Moscow Young Generation will be screened in cinemas starting March 2. The cinema premier of Three comrades is scheduled for April 13. It is a legendary and long-running performance by the Moscow Sovremennik Theatre. "People should come out and see it to experience something rare and beautiful, and to understand that Russia isn't just about politics," said Aronoff. "Art transcends all that. The universality of this performance, where the smallest gesture speaks a thousand words, is something we can all share."

For more information and schedule visit www.stagerussia.com

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