{"id":978,"date":"2013-04-14T19:12:03","date_gmt":"2013-04-14T19:12:03","guid":{"rendered":"http:\/\/cinelog.org\/cinelog\/?p=978"},"modified":"2013-04-14T19:12:03","modified_gmt":"2013-04-14T19:12:03","slug":"the-parallel-of-mptoa-31-nato-13","status":"publish","type":"post","link":"https:\/\/cinelog.org\/cinelog\/2013\/04\/14\/the-parallel-of-mptoa-31-nato-13\/","title":{"rendered":"The Parallel of MPTOA 31′ & NATO 13′"},"content":{"rendered":"

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This week, the National Association of Theatre Owners (NATO) convenes in Las Vegas for the organization\u2019s yearly meeting\/trade show\/schmooze fest, Cinema Con. Eighty-two years ago, one of NATO\u2019s predecessors, The Motion Picture Theatre Owners of America, came together at Grauman\u2019s Egyptian Theatre, for the day\u2019s premiere industry convention.<\/p>\n

\"MPTOA\"<\/a><\/p>\n

While separated by some nine decades, there stands an interesting parallel between the two conventions. Back in 1931, the exhibition industry had reached a point of finality in the conversion from silent pictures to \u201ctalkies\u201d; sound was no longer a burgeoning technology or novelty, but a necessity for survival. Move forward to 2013 and the industry has once again reached a technological gate, with digital projection. Be it at Grauman\u2019s Egyptian in 1931 or Caesar\u2019s Palace in 2013, the conventions mark a similar \u201clast chance\u201d ultimatum for those exhibitors who hadn\u2019t\/haven\u2019t changed with the times.<\/p>\n","protected":false},"excerpt":{"rendered":"

This week, the National Association of Theatre Owners (NATO) convenes in Las Vegas for the organization\u2019s yearly meeting\/trade show\/schmooze fest, Cinema Con. Eighty-two years ago, one of NATO\u2019s predecessors, The Motion Picture Theatre Owners of America, came together at Grauman\u2019s Egyptian Theatre, for the day\u2019s premiere industry convention. While separated by some nine decades, there […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6,5],"tags":[],"class_list":["post-978","post","type-post","status-publish","format-standard","hentry","category-history","category-industry"],"_links":{"self":[{"href":"https:\/\/cinelog.org\/cinelog\/wp-json\/wp\/v2\/posts\/978","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/cinelog.org\/cinelog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/cinelog.org\/cinelog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/cinelog.org\/cinelog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/cinelog.org\/cinelog\/wp-json\/wp\/v2\/comments?post=978"}],"version-history":[{"count":1,"href":"https:\/\/cinelog.org\/cinelog\/wp-json\/wp\/v2\/posts\/978\/revisions"}],"predecessor-version":[{"id":980,"href":"https:\/\/cinelog.org\/cinelog\/wp-json\/wp\/v2\/posts\/978\/revisions\/980"}],"wp:attachment":[{"href":"https:\/\/cinelog.org\/cinelog\/wp-json\/wp\/v2\/media?parent=978"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/cinelog.org\/cinelog\/wp-json\/wp\/v2\/categories?post=978"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/cinelog.org\/cinelog\/wp-json\/wp\/v2\/tags?post=978"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}