CINEMA TICKETING AND RESEARCH SYSTEM OF OUR LADY OF FATIMA
UNIVERSITY – QUEZON CITY CAMPUS
A Project Presented to the
Faculty of College of Computer Studies
Our Lady of Fatima University, Quezon City Campus
In Partial Fulfillment of the Requirements for the
Fundamentals of Programming Course
For the Degree of Bachelor of Science in Information Technology (BSIT)
By:
Rafaela Dagamac
Maria Joanie Labing
Verna Letigio
Julie Ann Panagan
Andrae Torres
October 16, 2018
Acknowledgement
The researchers would like to thank all the people who gave us untiringhelp,
inspiration during our case study, our deepest gratitude goes to our family for their
undying love and support for our needs, and financial this research is simply
impossible without them.
To our School, Our Lady of Fatima University, Quezon City Campus for
giving us this opportunity to do our case study by this kind of research in library
give us the information and knowledge that may help us.
To our respondents for giving their time to us and give an honest answers to
our survey to get a right information for this study.
Last but never the least, the researchers give their praise and thanks to God
Almighty We thank the God almighty for giving us the courage and perseverance in
completing this research This research itself is an acknowledgement for all those
who given us their cooperation in making it grand success.
Dedication
We humbly dedicate this research paper to our family and friends who have
been the source of inspiration and their moral, spiritual, emotional and financial
support
To our dear friends, classmates and teachers, we thank you for your
continuous belief, advance teaching and relentless advisement and encouragement
that enabled us to finish this research paper.
Lastly, we would like to give praise to our almighty god who mad this
possible for giving us the strength, knowledge and the will to move forward and
thus, enabled us to finish this paper.
Table of Contents
TITLE PAGE
ACKNOWLEDGEMENT
DEDICATION
TABLE OF CONTENTS
CHAPTER I- INTRODUCTION
Introduction........................................................................................................................ 1
Background of the Study....................................................................................................2
Objectives...........................................................................................................................3
Significance of the study.................................................................................................... 4
Definition of terms..............................................................................................................5
CHAPTER II-RELATED LITERATURE AND STUDIES
Related literature..................................................................................................................6
Related Studies......................................................................................................................7
Conceptual Framework.........................................................................................................8
CHAPTER III-METHODOLOGY
Methods of Research Used.....................................................................................................9
CHAPTER IV-PRESENTATION OF DATA
Graphical User Interface...................................................................................................10
CHAPTER IV- SUMMARY AND RECOMMENDATION
Summary..............................................................................................................................11
CHAPTER I
Introduction
“Have you ever walked in a cinema to purchase a ticket to watch a movie that you have
been eyeing for a few months now?” the researchers have put deep thought into this question, what
does it really take to get a ticket? What system does the ticketing station have to ensure customers
would have the best experience? Most importantly, how does the cinema ticketing systems work?
The cinema of the Philippines (Filipino: Pelikulang Pilipino or Sine Pilipino) began with
the introduction of the first moving pictures to the country on January 1, 1897 at the Salón de
Pertierra in Manila. The following year, local scenes were shot on film for the first time by a
Spaniard, Antonio Ramos, using the Lumiere Cinematograph. Early filmmakers and producers in
the country were mostly wealthy enterprising foreigners and expatriates, but by September 12,
1919, a silent feature film broke the grounds for Filipino filmmakers. DalagangBukid (Country
Maiden), a movie based on a popular musical play, was the first movie made and shown by
Filipino filmmaker Jose Nepomuceno. Dubbed as the "Father of Philippine Cinema", his work
marked the start of cinema as an art form in the Philippines.
What is Cinema? A movie theater (American English), cinema (British English) or cinema
hall (Indian English) is a building that contains an auditorium for viewing films (also called
movies) for entertainment. Most, but not all, theaters are commercial operations catering to the
general public, who attend by purchasing a ticket. Some movie theaters, however, are operated by
non-profit organizations or societies which charge members a membership fee to view films. The
film is projected with a movie projector onto a large projection screen at the front of the
auditorium while the dialogue, sounds and music are played through a number of wall-mounted
speakers. Since the 1970s, subwoofers have been used for low-pitched sounds. In the 2010s, most
movie theaters are equipped for digital cinema projection, removing the need to create and
transport a physical film print on a heavy reel. A great variety of films are shown at cinemas,
ranging from animated films to blockbusters to documentaries. The smallest movie theaters have a
single viewing room with a single screen. In the 2010s, most movie theaters have multiple screens.
The largest theater complexes, which are called multiplexes—a design developed in the US in the
1960s—have up to thirty screens. The audience members often sit on padded seats, which in most
theaters are set on a sloped floor, with the highest part at the rear of the theater. Movie theaters
often sell soft drinks, popcorn, and candy, and some theaters sell hot fast food. In some
jurisdictions, movie theaters are licensed to sell alcoholic drinks
So, what does a ticketing software do? A “ticketing system” converts all incoming support
requests from multiple channels into tickets. From the ticketing system, it’s easier to prioritize,
track and follow-up on customer requests from one place. This will help your customer support
team communicate better with customers, and handle issues more efficiently.there is a single
location where all your requests from multiple channels are stored, you can categorize and
prioritize these tickets, and decide how you want to go about responding to each customer.
Background of the Study
Mostly in Cinema Ticketing System are depends on a Manual Ticketing
System This is the system that can make easier to implement but give has a good
quality to do this work. it also feckless and able to be more expensive because it
takes a time to manage all the ticket stocks because this is manual ticketing which
where tickets are pre-printed with serial numbers that sold at cinemas gate or sold at
designated outlets. However, this system gives an affordable and comfortable to the
people especially those in Middle Class that has a large percent of the customers in
Cinemas Ticketing. This system is important because it processingyou are watching
in the big screenit also proven that you are going to watch some scene that you
wanted.
Objectives
The main aim and objective of this system is to provide the customers an anytime
and anywhere service for booking a seat in the cinema. and go gather information
about the movies so that the people can easily be able to know about the movie
released.
1. To sell a tickets.
2. Provide anytime, anywhere service for customers.
3. Increase the profit of the cinema.
4. Develop a cinema ticketingsystem, which can efficiently and effectively
process information on your ticket.
Significance of the Study
The importance of cinema ticketing system is should be a system that helps
you to improve your customer and improve customer satisfaction. At the same time,
movie-ticketing system is wellbeing appreciated by people, they offer a traditional
manual way of purchasing tickets. This means that the system is very useful that
everyone can get a benefit of this system and anytime and anyplace you can
purchase tickets in cinema ticketing. People can also choose an options by the
available movies with the movie ticketing system, you can make sure that this
system is giving all the help and best by customer’s needs.
Customers
They are the one who can use the benefits of this cinema ticketing system by
booking a ticket without hassle and the customer is also can buy a ticket in any mall
anytime and anywhere can purchase tickets.
Admin
The admin is maintain their system so that they are the one who can only
access of it, they can also change edit the program and assign some others user.
DEFINITION OF TERMS
Cinema- Tickets is what the customer receives upon payment at Ticketing Area.
Ticket- is what being customers receive tickets with numeric bar code format in PDF printing
through payments. The numeric bar code on the e-ticket can be scanned by a reader only once.
Customers- who buys a ticket at multiplex or through the online those are agrees with their
General Terms and Conditions. And the target of the company and who has a concluded the
contract for a ticket to a film showing or other entertainment scene arranged by the Cinemas.
User- A user is a person who utilizes a computer or network service. A system administrator, or
admin,is a person who is responsible for the upkeep configuration, and reliable of computer
systems specially multi- user computers such as servers.
CHAPTER II
FOREIGN LETERATURES
1. The Afrikaans film industry is facing a difficult time, as many Afrikaans films are
struggling financially. By determining the key factors contributing to the ticket
purchases for Afrikaans films, the Afrikaans film industry can be assisted to
increase ticket sales. Younger consumers are the future market for most industries,
and since films are a leisure activity enjoyed by many young individuals, a better
understanding of the needs and preferences of younger cinema attendees will
contribute to the sustainability of the future market. The results revealed five key
factors contributing to the ticket purchases of younger Afrikaans cinema attendee,
namely Marketing, Proudly Afrikaans, Production Credentials, Quality Facilities
and Quality Films. ANOVAs and t-tests were conducted to analyze the data further.
It was found that all the factors have a stronger influence on the attendees the
younger they are; attendees who prefer Afrikaans films over English films are also
more influenced by these factors; and attendees who view three or more films in
one month are more influenced by the factors Quality Facilities, Proudly Afrikaans
and Production Credentials. The managerial implications of this are discussed and
recommendations are made for Afrikaans film marketers and producers in order for
them to better cater for the needs of this younger cinema attendee, and ultimately
contribute to the growth of the Afrikaans film industry.Wan, X., et al., Unraveling
Platform Strategies: A Review from an Organizational Ambidexterity
Perspective.Sustainability, 2017. 9(5): p. 1-18.
2. Chinese cinema has experienced a paradoxical time of boom and doom in recent
years. In terms of statistics, the industry and the market have posted unprecedented
double-digit growth, and the government has been eager to tout its economic
agenda by facilitating the production and circulation of transnational Chinese
blockbusters. After the centennial celebration of Chinese cinema in 2005, no one
doubted the extraordinary growth of Chinese cinema in the new century, and today
production and box office figures continue to feed a general sense of euphoria.
Annual feature productions increased from 88 in 2001 to 406 in 2008. Similarly,
total box office revenues rose from RMB 840 million in 2001 to 4,341 million in
2008, while domestic films' box office jumped from RMB 294 million in 2001 to
2,689 million in 2008. In a short period, overseas sales of Chinese films grew from
RMB 550 million in 2003 to 2.528 billion in 2008. Moreover, new box office
records for domestic films were established one after another. In early 2002, Big
Shot's Funeral (Da wan; Feng Xiaogang, 2001) claimed an unprecedented RMB 42
million; in 2003, Hero (Ying xiong; Zhang Yimou, 2002) raked in RMB 250
million in domestic exhibition. The seemingly unstoppable expansion.
3. In 1996 David Cronenberg's film of J.G. Ballard's Crash led to a huge controversy
in Britain, much of which turned on claims of what the film might do to its
audience, claims which were the subject of a major ESRC-funded study. In 2001,
in Aberystwyth, David Rabey mounted a stage adaptation of Ballard's book. This
essay presents the first findings of an AHRB-funded research project into audience
responses to the stage adaptation. One theme in particular is explored: the
complicated meanings of ‘liveness’ to audiences, and how they conceived the
differences between stage and screen. This, it is argued, connects with a deep-going
assumption about the superiority of stage over screen. The essay examines the
tensions within this assumption by their relations with Philip Auslander's Liveness.
4. The International Film Business examines the independent film sector as a
business, and addresses the specific skills and knowledge it demands. It describes
both the present state of the industry, the significant digital and social media
developments that are continuing to take place, and what changes these might
effect. The International Film Business describes and analyses the present structure
of the film industry as a business, with a specific focus on the film value chain.
Discusses and analyses current digital technology and how it potentially may
change the structure and opportunities offered by the industry in the future provides
information and advice on the different business and management skills and
strategies. includes case studies on a variety of films including The Guard (2011),
The King’s Speech (2010), The Best Exotic Marigold Hotel (2012), Cloverfield
(2008), Pobby&Dingan (aka Opal Dream, 2005), Confessions of a Dangerous
Mind (2002), The Reckoning (2002)and The Mother (2003), and company case
studies on Pixar, Renaissance, Redbus and Zentropa. Further case studies on films
that failed to go into production include Neil LaBute’s Vapor and Terry Gilliam’s
Good Omens.
5. German film industry leaders first proposed the idea of a new international cinema
organisation at the lavish International Film Congress in Berlin (26 April–1 May
1935), to which Joseph Goebbels’ Reich Ministry for Popular Enlightenment and
Propaganda (ReichsministeriumfürVolksaufklärung und Propaganda, RMVP) had
invited over 2000 representatives of the world’s film industries. Carefully guided
by the staff of Goebbels’ Reich Film Chamber (Reichsfilmkammer, RFK), this
conference presented Berlin as the Centre of a cosmopolitan vision of international
cooperation, while giving imposing support for Germany’s claim to be its new
leader, through events designed to highlight the wealth, technological power,
cultural sophistication, and glamour of the German film industry. Germany also
showed off its commitment to the preservation of film history as over 300 foreign
delegates were taken on a tour of the newly founded Reich Film Archive
(Reichsfilmarchiv), one of the first state-sponsored film archives in the world.
Housed with scholarly dignity in the offices of Germany’s prestigious Kaiser-
Wilhelm-Gesellschaft in the Berlin suburb Dahlem, this institution had already
collected some 1500 films since opening in February 1935 under RFK official
Frank Hensel.
Local Literature
1. Writing in 1965 under the pseudonym Quijano de Manila, National Artist Nick
Joaquin vividly describes an era when the decline of the great Philippine film
studios spawned an unbridled "star system still in apogee." In the 1960s, star
worship fuels the popular cinema and feeds "the avarice of the independent
producer." The middle-class lament that mainstream Filipino movies are hardly
"quality" pictures, Joaquin writes impatiently, misses the point: "The movie fans
crowd to a local movie not because they expect a sensible story or expert acting or
even good entertainment"; instead, they go to the movies to see the stars they
adore—action film kings Fernando Poe Jr. and Joseph Estrada, glamour goddesses
Amalia Fuentes and Susan Roces. "Our movie idols remain idolized, whatever the
quality of their vehicles, as long as they remain impossibly young, impossibly
glamorous, and impossibly beautiful"1 (figure 1). This is a form of star worship that,
in its emphasis on an unrealizable world, ends by preventing audience identification.
The spectatorial pleasures offered by the star system of the early to mid-1960s,
Joaquin argues, are not driven by identification but by wonder, idolatry practiced
from afar.
2. In an August 2007 interview with the Philippine Daily Inquirer newspaper, Filipino
independent film director Redd Ochoa called the local film scene a “newborn
arising,” referring to the new Filipino cinema emerging outside the country’s
established studio system.2 As the commercial industry declined over the course of
the past decade, new works emerged outside the major studios, often produced on
shoestring budgets. Ochoa spoke to the newspaper via email from the Montreal
World Film Festival, where his feature, Baliw [Insane], screened in the festival’s
“Focus on World Cinema” section alongside two other Filipino films, Brillante
Mendoza’s Foster Child and Neil Tan’s Ataul [Casket for Rent]. The director
credited the current growth of Filipino filmmaking to the recent “digital explosion,”
saying, “I’m glad that the digital age has reached us…Though we’re a bit behind in
terms of technology, I’m glad that many filmmakers are making use of what they
can get their hands on.”
3. Suave and sophisticated in the service of the nation, the secret agents who
dominated Filipino film culture in the late 1960s were men in command of their
times. Although derided by critics as not truly Filipino, merely crass copies of
foreign fare, this article asserts that these cinematic secret agents were necessary
heroes deeply and triumphantly engaged with the trials and possibilities of the
postcolonial age. These Filipino James Bonds offered bracing pathways for
imagining a hip and virile Filipino masculinity, a modern nation secure against the
threats of the Cold War era, and a culture holding the lingering colonial influence of
the United States under its sway.
4. At Least six movies about the wartime Japanese occupation were produced by the
Philippine film industry since 2000. This article focuses on three: Yamashita: The
Tiger's Treasure (2001), AishiteImasu 1941: Mahal Kita (I Love You, 2004), and
Blue Moon (2005). All were released as entries to a major local film festival and
received numerous awards. This article looks at how the complexities of invasion
and its historical significance are represented in these films, and it explores the
possibility of contextual cyclical changes. I t analyzes how representations of the
Japanese soldier/invader and the Filipino subject/defender/guerilla have changed,
and how they compare with images in films produced and shown during the war and
the postwar periods. This article addresses how these representations are treated as
historical reminders in the present.
5. Independent films are “works that are not produced by major film studios, and
usually made on a low budget. They are artistic creations outside the commercial
mainstream, free of the constraints of studios motivated by capital gain”
(Dimaculangan, 2007, para. 6).Digital filmmaking (which is used interchangeably
with “independent filmmaking”), is popular among filmmakers because it eases the
financial burden of producing a film. Cantera (2007) cites well-respected director
Francis Ford Coppola’s prediction that breakthroughs in electronic and digital media
will penetrate filmmaking. Cantera (2007) believes that this gave Philippine cinema
a much-needed boost, as hundreds of unknown filmmakers were inspired and
emboldened to produce their fresh concepts without having to rely on the studio
system.
Conceptual Framework:
Input Process Output
- data gathering -Analyze the
problem
-Research
trough Internet -Creating the
structure of the
-Programming
Language
system -Program
-Design the out Result
-Review of lookof the system
Related Study -Testing and
Cinema debugging the
Ticketing system
CHAPTER III
Methodology
Planning
A basic management function involving formulation of one or more detailed
plans to achieve optimum balance of needs or demands with the available resources.
The planning process identifies the goals or objectives to be achieved, formulates
strategies to achieve them, arranges or creates the means required, and implements,
directs, and monitors all steps in their proper sequence.
Analysis
Data analysis is a process of applying statistical practices to organize,
represent, describe, evaluate, and interpret data.
Design
It is how we plan or something created, to make it better example of design is
our cinema ticketing system.
Testing
Testing of our product performed to protect customers from any failure during usage
of the product. To bring the tested software, after corrections of the identified errors and
retesting, to an acceptable level of quality and last one is considered as to compile a record
of software errors for use in error prevention (by corrective and preventive actions).
Maintenance
We have a strict maintenance program that converts continuous improvement
into reality and is standard for all users and customers. It essentially works this way
by Modify the existing system to cope with changes Diagnose, fix any errors
increase reliability, and prevent problems.
CHAPTER IV
Graphical User Interface:
CODE:
SOFTWARE EVALUATION FORM
TITLE: CINEMA TICKETING AND RESEARCH SYSTEM
NAME OF RESPONDENTS: _______________________________________________
DIRECTION: Rate each item by checking the number that corresponds to your answer. Rate 5 if it
is HIGHLY ACCEPTABLE, 4 – ACCEPTABLE, 3 – MODERATELY ACCEPTABLE, 2 –
SLIGHTLY ACCEPTABLE, 1 – NOT ACCEPTABLE.
Criterion
ACCURACY 5 4 3 2 1
The program provides correct result in
computation.
The program has correct information and no
grammatical lapses
USER-FRIENDLY
The program easy to understand and easy to
use
The program’s design is simple, pleasing, and
enticing.
FUNCTIONALITY
The program can process all relevant needed.
The program is capable to display all pertinent
data
___________________________________________
Signature over Printed Name of the Respondents.
Summary:
Cinema Ticketing System This study showed that people would help
along cinema ticketing system. As technology rise up, a different bundle
of system was introduce and this ticketing system would help many
people and make ease out of it. It was helpful for different ages of
customers who want entertainment.
The purpose of this study is to help people along cinema ticketing
system. As technology rises, a different bundle of system was introduced,
and this system would help a lot of people and make ease out of it. This
study aims to lessen the hassles of customers in terms of buying a ticket
Instead of waiting in a long line to buy a ticket. This study was helpful for
different ages of customers.
Pre, During, After:
Before we proceed in this case study of course we search further information
about this , we search the possible outcomes or outputs if we finished it . As well as
we ready ourselves for our struggles individually and as a group.
We experienced different obstacles as we continued our case study research.
There are instances that some of our members did not cooperate as well as others do
There are times that 1 or 2 members came late to our given time and designated
place. And of course as every group work struggle was some of members didn't get
serious about our study research.
But we work as a team so everyone does it a good although sometimes it's
stressful but it quite achievement to us to finished it
