magazine was circulated throughout Brazil and in some Latin American countries. It also had about 1700 editions published over its 34 years of existence, with special editions in between that counted as 2 publications.

Its publication was weekly and made every Tuesday, until the middle of 1954, more precisely in July. The temporal distance between issue nº 25 [5] and issue nº 26 [6] (23/6/1954 and 7/7/1954, respectively) already marked the new frequency of publications established by the magazine, which it cited as a reason the “change in the work rhythm of the workshops where A Cena is (was) printed”, stressing that it is a temporary situation. Despite the note, the magazine continued operating on a biweekly model until its closure. In April and May 1955, the editions were monthly, the last edition of A Cena Muda being published in May.     

Its single purchase value, at first, was 1$000, costing 1$500 when purchased late. The annual subscription to the 52 numbers cost 48$000 in national territory, while abroad it cost 6$0000. Only 6 months subscription was offered for 25$000. As of issue No. 523 [7], dated April 1, 1931, the price of the single magazine rose to 1$200. The edition began with a note explaining that the increase was necessary due to a crisis in the Brazilian press, in which the sale for 1$000 would be impossible. Also in the same note, the newsroom reinforced that an appeal was made to “film importing houses” so that the price of publicity materials displayed in the magazine would not be increased. This request was not met, leading to the journal's first price increase.

As of issue nº 1128 [8], of November 1942, the magazine was sold for 1.20 Cr$, following the exchange of the national currency. Later, the price rose to 1.50 Cr$, in issue nº 002 [9], from 1945, increasing in the same year to 2.50 Cr$ in issue nº52 [10]. From that moment, there was a great variation in the purchase values, with the price of the last copy being 5 Cr$.   

Regarding the reason for its bankruptcy, the interviewed members blamed Gratuliano de Brito's mismanagement towards Editora Companhia Americana. Margarida Maria Adamatti, in her master's thesis at USP, pointed

out that the decline occurred       

[...] not only for the technological aspect, but for the understanding of the new canons of representation of stardom and the new demands of the press of the period. It wasn't exactly stardom that died, as described by Edgar Morin at the time, but the exaggeration and artificiality present in magazines such as Cena Muda, which used too much of releases, or in Cinelândia with its feuilletonistic novelizations. The representation of actors in Cena was still tied to values​​from previous decades. Hollywood publicity departments showed stars from mistakes to humanize them, but Cena didn't adapt.

Cena Muda ended its useful life in May 1955, establishing itself as one of the greatest magazines in the historiography of Brazilian cinema, being the only one that crossed the silent period until the sound period, together with Cinearte.