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A REPORT ON MARKET SHIFT FROM MINIPLEX TO MULTIPLEX IN AHMEDABAD
By HARDIK. H. SHAH (09bs0000834) ICFAI BUSINESS SCHOOL
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I, hereby declare that the Project titled, ³A REPORT ON STUDY OF SHIFT FROM MINIPLEX TO MULTIPLEX IN AHMEDABAD´ is original to the best of my knowledge and has not been published elsewhere. A report is submitted in partial fulfillment of the requirements of MBA program of ICFAI Business School. I also declare that this project is the result of my effort and has not been submitted to any other University or Institution for the award of any degree, or personal favor whatsoever. All the details and analysis provided in the report hold true to the best of my knowledge.
Submitted To: Mr. Kamal Shah Prof. ICFAI Business School
Place: Ahmedabad Date: 15/11/2010.
Hardik H. Shah ICFAI Business School
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The successful completion of summer internship project report would not have been possible without the co-operation of our Institute, Faculty, Organization and friends. I forward my gratitude to our faculty guide ± Professor Kamal Shah for their support and motivation. I also extend my thanks to the owners of Multiplexes for the valuable guidance in the making of this report.
Hardik H. Shah (09bs0000834) ICFAI BUSINESS SCHOOL
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ABSTRACT
India currently has 11,500 existing screens, out of which 95% are standalone single screens. These single screen cinemas are poorly maintained as the owners find it difficult to upgrade and renovate their facilities, due to unavailability of organized finance. The deteriorating quality of these cinemas discontinued the viewers and they started using alternative viewing options. One of the fastest growing sectors of the economy is entertainment industry. Entertainment today dictates our lives, education, careers, earning money, all lead to the quest for higher and sophisticated entertainment. One seeks knowledge to improve the quality of life. The quality of life improves when the basic requirement of life are supplemented with entertainment in some form or other. The industry is characterized by seasonality, low screen density, increasing average ticket prices, and reducing shelf life of movies. The key trends identified include producers bypassing distributors, shift to digital cinema, and alternate content in multiplexes, retail partnerships, and new single screen formats. The competitive landscape identifies and compares the major multiplex operators in the market since they dominate an industry where single screen cinemas are highly fragmented. Comparison parameters include number of screens, number of cinemas, footfalls and occupancy ratio.
Y Y Y Y Y Y Y Y Y Y
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O OCUTIVO SUMMARY
Ahat is Multiplex? Multiplex is a medium that offers a person composite entertainment comprising of a one stop destination to shop, entertain, and dine and watch a Varity of movies under a common roof. Multiplex are one of the means of lifestyle that offer to viewers the choice of watching a movie in a five star or three star environments. First Multiplex in Ahmedabad was Fun republic which opened at S.G.Road at a time where the tax rebates was there for the first 5 yrs and currently there are above 11 Multiplex. The Multiplex model is based on concept of umbrella entertainment built around a primary anchor- movie. The revenue streams, however, do not necessarily center on a single anchor. Typically, the possible income generating channels in a Multiplex can include: Y The box office Collection Y Rent from Display System Y Food and Rentals Y Product Launch Rentals Y Promotions and Parking Ahat is Miniplex? Miniplex is a single screen theatre. It¶s also called Cineplex. It doesn¶t have an umbrella kind of income generation facility. The main source of Income comes from the movies and the secondary from the parking. The income generation is limited as it doesn¶t offer the add-on facilities. The first Miniplex in Ahmedabad was Chandni and currently there are 81 Miniplex registered in Ahmedabad. The industry is blossoming as the Multiplex. The Middle Cinemas that are the Single screen which not updated them are suffering the most.
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ROSOARCH MOTHOOLOGY
The research is to be done with the regards to Miniplex and Multiplex of Ahmedabad. So the entire study is about the Entertainment Industry of Ahmedabad. Ae tried and study the Miniplex and Multiplex working and even tried to understand the consumer behavior of the Entertainment Industry in Ahmedabad. I tried to study the Miniplex and Multiplex facilities and the enhancement in the offering from both the side. Consumer behavior effects majorly on the demands for the cinema industry. Ae have tried to understand the consumer behavior by doing interviews and trying to understand the consumer attitude towards the entertainment industry scenario. The research was also done on the past projects which were made on the Entertainment Industry in Ahmedabad. The study will undertake the Multiplex of Ahmedabad and the Miniplex of Ahmedabad.
LIMITATIONS OF THO ROORT:
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G L The project has a limitation on geographical base as evaluation will be about the market of Multiplex and Miniplex of Ahmedabad. L R : - Entertainment industry is very big which encompasses thousands of products. The report is going to talk about only Multiplex and Miniplex Industry and not every product of the Industry.
TARGOT AUIONCO
yY This report is targeted to all the Multiplex and Miniplex Owners and people who are associated which are already there in the Ahmedabad market. yY The report will be helpful for any individual as well as corporate companies. yY The report will be helpful for the potential companies which are planning to make their mark in Ahmedabad.
INTROUCTION
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A multiplex is a movie theater complex with three or more screens. The largest of these are sometimes referred to as Multiplex (Megaplex). Definitions vary (the border between the two may be 12, 16, or 20). Multiplex theaters sometimes feature stadium seating and other amenities often not found at smaller movie theaters. Multiplex theatres nearly always feature regular seating; however, the screens are nearly always smaller than those found in movie palaces. In each town, a multiplex would often put the town's smaller theaters out of business. They were often coupled with other big box stores that were reaching their zenith at the time. The expansion was executed much too quickly, and almost all the major movie theater companies went bankrupt at this time, although the daily operations of the local theaters were not much affected. For several years the world's largest theater was the 18 screen Cineplex in Toronto's Eaton Centre. The world's first 20 screen Multiplex is Studio 28 in Grand Rapids, Michigan, which reopened in 1988 with a seating capacity of 6,000. The first multiplex in the world is the Kinepolis Brussels in Brussels, Belgium, which opened in 1988 with 25 screens. The first multiplex in the United States is the AMC Grand built in 1995 with 24 screens. Studio 28 and the AMC Grand 24 sparked a wave of Multiplexes across the United States. This was financed in part by private equity money and caused a dramatic shift in the American urban landscape. AMC Theatres has since then led the way and has built many Multiplexes with upwards of 30 screens. The largest Multiplex in the Southern Hemisphere is the 26-screen Multiplex Marion in Adelaide, South Australia. The auditoriums sit on top of Aestfield Marion, which is the largest shopping complex in Adelaide.
MULTILO SCONARIO IN INIA
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In India, the mushrooming of multiplexes since the mid-90s has changed the dynamics of the Indian Film Industry. Production costs are now recovered in days, not months and viewers have really caught on to the concept. There have been concerns over high ticket prices and the phenomena has predominantly been restricted to the larger cities, but Indian cinema chains like PVR (Priya Village Road show), Inox and Cine Max are slowly but surely changing the rules of exhibition in the world's largest film industry. IT is unlikely that India¶s experience with the multiplex form of cinematic exhibition can be comprehended without understanding the mechanisms of the liberalized economy in which it emanated. But to locate its persona and impact as being solely the affections stemming thereof would in some ways amount to a limited and inadequately informed view. Since its inauguration in 1997, the Indian multiplex experience has been smattered with instances that stand in opposition to its immediate environs. Incoherent, inconsistent, possibly transitional yet aggressively attentive, these lend to it markings of an indigenous, self-derived and developed nature. Though patterned along the µshopping mall¶ model of the multiplex as developed and prevalent in the Aest, and sustained by the retail boom unleashed by the economic liberalization policy of 1991, the Indian multiplex site sports all the features of an up-market turf. It has aligned with and extended the transformation of India¶s urban milieus being re-visioned within the framework of consumerism. The multiplex¶s steady proliferation in the metropolis¶s and simultaneous penetration into some smaller cities and towns testifies to its increasing popularity, coinciding with the rise of disposable incomes in the hands of the urban Indian family. But in terms of its exhibit, i.e. the films on its screens, it makes for a space that mirrors a complex cinematic multiplicity. The increasingly curious mix of parallel, regional and art cinema along with the mainstream, both domestic and foreign, is what distinguishes most multiplexes in India, such that the Indian multiplex has come to position itself, not so much by identifying with particular kinds of films, as by being a theatre for accessing the µlatest¶ from a wide spread of cinematic fare ± mainstream or fringe ± in comfortable, colorful and inviting surroundings. Ahile the former, mostly Bollywood films which, given their steadily improving production quality and contact with newer territories, especially overseas markets, aligned quickly with the multiplex¶s swanky appearance, the latter too, mostly low budget, non-narrative films, easily if not as promptly, penetrated into the multiplex without bearing any proximity with the site or its vicinity which is enlivened with an array of branded local and global products and services. The multiplex intervention, as of the moment, can be termed as appropriating varying audience segments to stabilize and secure its own position, establish its distinction and engage the audiences in a varying film viewing exercise. It has emerged as comprising a mix of seemingly contradictory strains wherein central and peripheral tendencies coexist. Taking cues from each other, multiplexes all over the country are making for variables that don¶t just originate in, or
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correspond with, the existing common needs of their audiences, but have also identified and accommodated overlapping tastes and preferences by readying access to fare, which may have previously been considered as lacking numerical encouragement vital for profitability. Most art films and much of parallel cinema have usually faced reluctance from distributors and exhibitors alike. Given the limited response they face, bodies like the National Film Development Corporation (NFDC) have regularly stepped inY to support them financially alongside promoting them at foras like film festivals and national network television. Their penetration into the multiplex can first be located in simple mathematics ± the proliferation of screens, enhancing access to films. More important than simply the number of screens is the fact that even though more cinemas are getting converted and new multiplexes are being set up, the number of seats has not increased in equal proportion. It is only when new multiplexes are constructed that seating capacity has recorded an increase. Ahile the capacity at a single screen cinema is usually in the region of 850 to 1000 seats, or sometimes a little over that, a single screen in a multiplex seats a far smaller audience, because when a cinema is converted from one to multiple screens the seats get divided among them, though not equally. Anupam PVR, India¶s first multiplex situated in Delhi, was converted to four screens, two with a capacity of over 300 seats and the others with 150 seats. The pattern continued, shaping into a trend, with the result that even when a new multiplex is constructed the seating capacity per screen rarely parallels that of a single screen hall. Consequently, the number of admissions per screen stands far reduced at the multiplex.Y However, though non-mainstream films are unlikely to attract audiences of the size as a conventional Bollywood film would, their showings are still lucrative because the numbers they command constitute a greater, more competitive marginal value. Further, the multiplex has not followed the conventional 12-3-6-9 time schedule as prevalent in most cinemas. This created opportunity to schedule and programme films on the different screens. The ability to manipulate schedules allowed for films of varying lengths to be accommodated. Since non-mainstream films are of varying lengths and usually shorter than an average feature, they could easily be integrated in the multiplex¶s film menu.
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ROBLOMS TO MULTILO
Multiplexes have charted cautiously in relation to industry films. In relation to Bollywood, multiplexes have not depended entirely on conventional films as they are in any case competing with the single screen cinemas which draw larger audiences. This is not only because they have a greater seating capacity, but because they are more accessible. They usually outnumber multiplexes, are located within easy reach and, more importantly, offer the same product at a lower price. Besides, a thriving video piracy industry coupled with a deep penetration of cable television, meant that the multiplex settled for exhibiting selected films ± usually the awaited, big budget, publicized, mostly familial films. These films coincide with the multiplex¶s redefinition of cinema as a family outing comprising other amenities like food and games. Since it needs only a section that would guarantee a sell out of its limited seats being offered at a higher rate, it tends to exclude the average Bollywood film. But in so doing it has managed to elicit viewership from upper class segments, who previously may have held reservations towards cinema going, given the lack of facilities like air-conditioning, upscale interiors and so on. In relation to Hollywood films too, multiplexes find themselves playing on limited ground as releases in non-western territories are usually a couple of months after the film¶s release in home territories. And the access to films through DVDs before a theatrical release (at least in metropolis¶s) has implied a replication of the approach as adopted towards Bollywood films. Initially, multiplexes were projected primarily as theatres for English films. That changed soon, because despite their popularity English films are rarely accessed by non-English speaking, illiterate and non-affluent audiences. These films seldom transcend metropolis¶s and large cities and, on the screens, they compete for space with films from a flourishing native industry that appeal to a wider audience. The apprehension towards foreign films is not determined by the urban or linguistic divide only. Aithin the different income regions of say a metropolis itself, one finds multiplexes located in posh localities exhibiting foreign films along with substantial numbers of non-mainstream films. However, when located in the lower income group areas, multiplexes get smaller, being composed of fewer screens and English films (mostly well advertised ones) constitute a smaller portion of the assortment. As one moves away from the Hindi heartland, the film menu tilts correspondingly in favour of native languages and no longer reads bilingually (i.e. comprising only Hindi and English films). Neither is it always trilingual, say in cities like Mumbai and Delhi, or regions such as South India. Here films in the immediate native language get complemented with those from other regions, in differing dialects.
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Aith the multiple screens accommodating a spillover of linguistic access that may be rooted in a host of factors ± education, migration, employment and training or just proximity ± this gets converted into overlapping cinematic preferences. The variation is not simply of language, but extends to genre as well, including treatment in relation to content and construction in terms of form. Responses at the multiplex to the non-mainstream films have not been completely negative. In fact, a few low-budgets, non-mainstream films, despite a cast comprising prominent film stars, could only secure screening at multiplexes in some territories. Such a trend coupled with the entry of vernacular films into non-native regional territories, and an active Indo-western intersection has also facilitated the entry of non-mainstream English and non-English foreign films into some multiplexes. The multiplex also constitutes the primary site for the increasing territory of films directed by overseas Indians, whose representations span both the Indian diaspora and the home-land. Sociological in their orientations while dealing with the diaspora, these present traditions and lifestyles as altered by being away from the homeland; and in terms of the homeland, they highlight native habits and attitudes as seen from a µforeign¶ eye. Explicated mostly in humorous, familial scenarios that involve the play of customs and rituals along with the essential element of entertainment materializing in song and dance, these films are developed along non-native patterns of construction, aesthetic and language. Their duration too is a variable, almost always under three hours. Despite being located within the native community and thus being readily decipherable, they too like other foreign films have enjoyed limited appeal not extending beyond the largely educated audience that¶s bilingual and enjoys familiarity with diaspora experiences and attitudes. Though films surrounded with more publicity are played at a few single screen halls as well, the multiplex is more promptly identified with non-native cinema. Add to that the fate of films like (1997), and the polarization between the single screen and multiplex cinemas stands further sharpened. Given the fast pace of its spread, its acumen towards cinema of diverse kinds and a long gestation period, central and state governments are encouraging major investment and offering sops to investors and developers who comprise real estate entities, film exhibitors and distributors, film processing companies and media conglomerates. But the concessions are accompanied with conditionality¶s aimed to prevent concentration of multiplexes in select regions and in some cases to promote regional cinema. A microcosm of retail culture including significant portions of global brand names, the multiplex site makes for the kind of up-beat location that coincides with government attempts to alter conventional images and all that compliments the bandwagon. It also enables foreign tourists to access cinema.
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SHIFT IN THO VIOING O ORIONCO The preponderance of single screen cinemas has not come in the way of screening critically acclaimed foreign films from time to time. Second, in the backdrop of a film industry steeped in financial crisis, the small budget and independent films have received considerable approval and encouragement when compared with the industry product. Aith off-beat content and newer forms, their slice of the cinema is expanding. For them too, the multiplex constitutes a crucial exhibition space, given that they target specific rather than mass audiences. Third, and to further unpack the possibilities at the multiplex, a brief recap of the functional impulse/s for it is vital. Upon introduction of liberalization, retail chains emerged and expanded as the momentum of consumerism slowly rose. Consequently, retail spaces steadily gained premium over commercial ones. Strategies to cover costs had to be revised. Ahile rethinking products, prices and efficiency, retailers linked promotions, fun and entertainment to penetrate bigger chunks of the market and secure customer loyalty through customization. In a climate of alliances and add-ons like food joints, the concept of holistic family entertainment experiences gained patronage. In such a scenario, the immensely popular leisure activity far older than television in India ± cinema ± suffering from inadequate exhibition facilities intersected with aggressive retailing and helped prompt the multiplex. This served to revive the diminishing cinema going habit by enticing audiences away from their television sets, with their clutter of imagery from all over the world drawing upon the cable and satellite boom. The desire for the image now combined with other leisure activities and occupations. Once in place, the multiplex developed a counter to the unitary propensity of the single screen hall, founded on exclusion, perpetuating homogeneity and cultivating committed audience segments. Ahile single screen cinemas identify themselves with films of particular kinds, say the HindiY Yand blockbuster, the English, or the porn movie, the multiplex has capitalised on an inclusive tendency to motivate and assemble diverse audiences. On the one hand it has contained the influence of embourgeoising forces within its edifice, allowing on its screens the interplay of alternative and mainstream or conventional strains. Further it has limited contact with the Aest to no more than the fashioning of its site, preventing the hegemony of either Hollywood blockbusters as the result of a partial global encounter, or conventional Bollywood films that enjoy a pan-linguistic and cultural appeal cutting across regional, religious, class and other variants. On the other hand, it has remained an urban, largely middle and upper middle class leisure pursuit, with its highly priced tickets excluding the masses crowded in the lower regions of the income graph.
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Ahile the masses take to cinema readily, given their financial capacity and lack of identification with the plush appearance, products and services at the multiplex ± in any case targeted at the socially and economically mobile sections ± this numerically significant chunk of audience has remained confined to the outer edges of the multiplex experience. And it is unlikely that the dynamics of the multiplex in its present will manage to secure their participation. Spatially too, multiplexes can mostly be spotted in affluent neighborhoods, within the easy reach and concentration of young audiences. So far a nascent experience, the number of multiplexes is soon slated to rise sharply. The full impact of its rapid spread, particularly over the last two years, is yet to be determined given the long gestation periods and concentration in and around selected pockets. As a result, it is too early to draw any conclusions about its impact or chart any definite course for its future. Going by the variables that are emerging in response to the needs of immediate audiences, and the fact that in its present form it has acknowledged cinema as composed of diverse possibilities, the multiplex may in the future enhance segmentation and result in branded theatres exhibiting particular fare, say the art, mainstream, or foreign films, maybe even documentaries. The mechanisms of competition would then come into operation and influence aspects such as ticket pricing. As a space commanding flexibility and an ease with maneuverability, the multiplex, concurrent as it is with the digital revolution, could even aid in the promotion of the format. Not simply by providing accompanying exhibition facilities like digital projection or digital sound, but by making available alternative display spaces for digital films that bear potential as a distinct genre. Aith the conveniences of its apparatuses, film form is already witnessing alteration in some parts of the world, and filmmakers without access to elaborate film equipment have received a fillip from this technology. New territories in relation to content are being explored by a breed of filmmakers who are exploiting the ease of accessibility accompanying the medium. Redefining film form and content, digital films could prompt and occupy viewing spaces as differing from conventional films and embody forms like the µwalk through¶ film that may require simultaneous projection on more than one screen, not necessarily of conventional theatre size.
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MULTILO V/S SINGLO SCROON
Aith multiplex industry¶s soaring business and ominous presence, can the single screen cinema halls sustain its business? Single screen theatres and talkies in the city are a passé now. They are inconspicuously disappearing into oblivion in the wake of rampant multiplex culture. Besides the government ordinance which ensures a complete entertainment tax waiver and concessions to multiplexes, the populace audience also has deserted the single screens. The nature of multiplex entertainment, which offers video arcades, bowling alleys and pool parlours spiced up with their lavish and multi-cuisine food courts, does ensure that the audience is lured towards its glitterati. Aith multiplexes came the multiplex style of management: plush seats, superior sound quality, add-ons - all at a price, of course. Consumerism has always existed. Today multiplexes are offering better facilities to a section of the audience that can afford it. The Indian film industry is one of the largest in the world -- producing 1041 films, annually. It is currently worth about US$ 1.8 billion and is expected to grow at a CAGR of 16 per cent for the next 5 years to reach US$ 3.8 billion in 2011. Bollywood, the Hindi film industry, which commands a 40 per cent share of the Indian film market, is gaining a global audience. A spurt in the number of multiplexes in the country has changed the entire complexion of Indian films -their budgets, the way they are made and the audiences they are made for. Multiplexes have played a pivotal role in these developments, catering to a global taste, says Mr. Alok Tandon, CEO of INOX. Across the country, single-screens are being taken over and converted into multiplexes. Here's a stunning stat: the total number of screens in India actually declined by nearly 20 % from 2000, even as the number of multiplex screens surged by a whopping 1300% in the same period. ³Yes multiplexes are a growing trend in Ahmedabad. This will be to the advantage of the customer making it a buyers market. Populated neighborhoods will see the rise of multiplexes and this will overcome the problem of fewer cinemas and longer travel times to visit them. This will also help increase the distribution network of films brings it to a larger audience thereby improving the overall collections per film. Multiplexes will also open the market for small budget and international films which can be showcased to a select audience. This is surely revenue making proposition,´ Pooja Shetty, Director, IMAX Adlabs Multiplex. According to a government ordinance, the multiplexes need not pay any ET for three years and then only 25 per cent for the next five. Of course, the multiplexes had to provide extra facilities such as video games, a theatre to stage plays, adequate parking, a crèche, and gardens and so on.
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The rationale for tax waiver was explained and a statement was appended to the government notification. The statement reads as follows, ³Public at large these days prefer to see movies at home. Keeping in view this scenario, a concept of complete family entertainment centre has emerged, popularly known as a multiplex. However, these multiplexes are highly capital intensive, their gestation period is also longer and therefore, need government support and incentive.´ The tax waiver is going to kill multiplex owners. The notification states that a multiplex has the option of exit after ten years. This is not allowed for single screen theatres, even if the whole thing is running at a total loss and should a single screen theatre owner decide to convert the premise into a commercial complex, there is a condition that a mini-theatre must be a part of the new structure. ³All the incentives has not only given a boost to the burgeoning multiplex industry, but the fringe benefits like parlors and food courts, that the lies at the core of multiplex entertainment has been successful in ably attracting the audience. As a result the single screen theatre industry, which has quality movie and action as their centripetal guiding force, has been dying a slow and painstaking death. There are very few loyalists who actually are willing to purchase tickets and visit the single screen theatres, but otherwise the majority doesn¶t mind spending unreasonable amounts that these multiplexes charge,´ says Mr. Mohan Tapare, Manager Vasant theatre, Pune. The multiplex industry is a profitable one and it is natural that the entrepreneurs will dive into it. But what is disheartening is that under the pretext of the entertainment, they are selling other amenities like food courts, lounge styles and pools. The core of these multiplexes is not quality entertainment, but hollow facilities and it is really sad that people are willing to pay astronomical prices and abandoning theatres and drama for these bromides. The current status of single screen theatre is really concerning.´ ³Ae will be left with b and c grade films and this will further deplete an already decreasing audience,´ Theatre owners are not allowed to change the nature of their business unless they retain 33 per cent of the original number of seats in their new enterprise. Further, the government has not considered the fact that not everyone can afford to watch a film in a multiplex considering the high rates of admission. This will only promote a backdoor boost to video piracy. Ahat ever be the reason, the popular choice or the government incentives for multiplexes, the fact that the single screens are deserted is glaringly evident and looks as if soon these single screens will be a matter of history.
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OMANS OF MULTILO ONORS Y Y Y Y Y Y Y Y
Entertainment Tax reduction. Hike in service charge. Exit policy. Electricity at concessional rates. Abolition of show tax imposed by municipal bodies. De-linking of Property Tax from box-office collections. Exemption on taxes for film hoardings in theatre premises. Level playing field with multiplexes.
OMANS OF MINILO ONORS
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Movie Rights Tax Benefits Rights against the VCD & DVD Subsidies for opening Miniplex Yearly Tax planning
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STUY OF MULTILO IN AHMOABA
Ae will try and study the Multiplex in Ahmedabad with the facilities they are providing to the consumer.
List of multiplexes at Ahmedabad: Y Y Y Y Y Y Y Y
Fun republic Aide angle City gold Adlabs PVR R world Devi City pulse
FUN ROUBLIC
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Fun Republic is located at the prime location of Ahmedabad at Satellite. It was started in the year 2000. No. Of screens: 6 Parking space: 600 vehicles. Total no. Of seats: 1120 Aorking hours: 08:30 am to 10:45 pm. Total staff: 50 Add ons: food court, games, shops, and restaurant.
IO ANGLO
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Aide Angle is located at S.G.HIGHAAY. It was started in the year 2001 No. Of screens: 5 Parking space: 100 vehicles. Total no. Of seats: 820 Aorking hours: 09:30 am to 10:45 pm. Total staff: 40 Add on: food court, games, and restaurant.
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CITY GOL
Y Y Y Y Y Y Y Y
City gold is located at Ashram Road It was started in the year 2000. No. Of screens: 5 Parking space: 800 vehicles. Total no. Of seats: 734 Aorking hours: 09:30 am to 10:15 pm. Total staff: 55 Add on: food court, games, and restaurant.
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R world is located near Gandhinagar It was started in the year 1998. It has been taken over by Cine max It was previously owned by Rajshri Aorld. It has 4 Screens and one of the best seats in the industry. Total Staff: 28 Add on: Food court, Games, Cart Driving, and restaurant.
ALABS
Y Y Y Y Y Y Y Y
Adlabs is located at Himalaya Mall, Drive in road. It was started in the year 2007. No. Of screens: 5 Parking space: 1500 vehicles. Total no. Of seats: 850 Aorking hours: 10:00 am to 10:45 pm. Total Staff: 35 Add on: Food court, Games and Restaurant