Perego Seats

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In the motion-picture theater, the screen at rest is a neutral, shadowy blank; at rest, the fish-eye lens of the TV screen mirrors the room over which it presides. In both, the images are luminous, lighted as though from within, but the motion-picture images hover on or just in front of the surface of the screen. The viewer moves toward inclusion; no need for those movie-palace stunts, those three-dimensional experiments when, bicolored glasses in place, we ducked the baseball flung at us or were frozen in our seats by the locomotive that roared out of the screen and over our heads. The TV image, by contrast, recedes into its box and includes us out.
—Don Gifford, U. S. educator, critic. The Farther Shore: A Natural History of Perception, ch. 1, Little Brown (1990)

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I have not carried out experiments to prove it, but may I suggest that people in the theater and the cinema do not sit in the same way? The theater requires attentiveness, and people must sit up alertly to see what is often a small area of concentration. Whereas in the cinema, the screen looms above us, and many people sink into reclining positions to watch. Some luxurious movie houses have seats that slide back to allow this posture. In the cinema we sometimes put our feet on the back of the row in front, loll across two seats, and damage the upholstery. Would this happen with a lively and commanding presence on the stage, or is it the result of a sort of loneliness in cinemas?
—David Thomson (b. 1941)