Thursday, August 4, 2011
While in Hollywood last spring, I was informed that the lost revenues from piracy weren't the studios main fear-as they want us to think so they can break derive more surplus labor values from those working in the industry-but actually it was the fact Netflix and now Hulu were changing the media landscape once again by offering original programming.
The film industry was effected by television, but ultimately made major profits via cable operations, home video, etc., but it seems less able to deal with the advent of straight-to-internet productions. Such has already been occurring though for film, many filmmakers can make some coin by hashing out a deal with Netflix (or now possibly Hulu) to stream their films.
Film's collectivity has inherently dwindled since the pre-television age. Most of the cinema I have ever seen was due to Blockbuster (out of business), Westcoast Video (out of business), and TLA (a local Philadelphia movie rental operation that has shut down more than half of its stores). These stores though didn't have the capabilities to have the swath of cinema sites like Netflix and Facets (a must have online rental service for cinephiles) have. Yet, these sites even pail in comparassion to the access torrenting has brought cinematic militants, but one cannot always find the same quality cinema you can get even from a DVD with some titles. Yet, you can get films that Facets doesn't even have, but ultimately the interlacing found with most DVD's beats even the highest quality torrent.
After going to movies multiple days a week out in Hollywood, I found a major appreciation for the theater experience. Films shot on 35mm, obviously should be seen in that medium. Then bathing in the luminescence of the screen with fellow cinephiles, at excellent theaters like Tarantino's New Beverly, MOMA-LA, The Cinefamily, etc., was a much more rewarding experience than watching something alone in my mother's basement. Still, even at classic films, there wasn't a full crowd even in the global epicenter of cinema. Even there some outfit, like Shooting Wall, was needed to connect cinephiles and strengthen their cinephila. What I'm getting at though is we're in a new age, one where we must embrace the immense distributional options by the internet, but re-strategize our exhibition-collective methods to not let cinematic obsession die.
Posted by Shooting Wall