The relatively recentc emergence of more participatory and interactive models of screen media consumption has led some to the view that cinema-going is ‘dying’.1¹ Assertions of this ‘death’ are predicated on the existence of faster, more convenient ways of distributing and exhibiting films, such as video on demand (VOD), streaming, and other internet-based facilities. In developing economies there are yet more alternatives to theatrical exhibition, and not all of them are technology-driven. Film theatres, fundamentally, are no longer the only platforms with exclusive content; new dynamics of film consumption are emerging, some of which depart from early models that solicited the undivided attention of a spectator who ‘must watch the film individually and keep silent throughout the screening’.2² As Ramon Lobato observes, ‘While the nickelodeons, movie houses and picture palaces of yesteryear, and the multiplexes of today, are important sites of cultural consumption, formal theatrical exhibition is no longer the epicenter of cinema culture’.3³

中文翻译：

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津巴布韦：影子经济中的电影放映和消费

较新出现的更具参与性和互动性的屏幕媒体消费模式导致一些人认为看电影正在“消亡”。1 ¹对这种“死亡”的断言是基于更快、更方便的分发方式的存在以及放映电影，例如视频点播 (VOD)、流媒体和其他基于互联网的设施。在发展中经济体，除了戏剧表演之外还有更多选择，但并非所有选择都是由技术驱动的。从根本上说，电影院不再是唯一拥有独家内容的平台；电影消费的新动态正在出现，其中一些与早期的模式不同，这些模式吸引了观众全神贯注的注意力，他们“必须单独观看电影并在整个放映过程中保持沉默”。^{2 2}正如 Ramon Lobato 所观察到的，“虽然过去的镍币、电影院和电影宫以及今天的多厅影院是文化消费的重要场所，但正式的戏剧展览不再是电影文化的中心” ^{。3 3}