Seems like every time I think I won’t have enough good articles for the Roundup, I end up having WAY TOO MANY. Ah, well. Enjoy this supersized edition.
The Death of Film/Decay of Cinema at 15: A Conversation with Godfrey Cheshire by Matt Zoller Seitz and Geoffrey Cheshire at Roger Ebert.com
This is a wide-ranging and fascinating conversation between two thoughtful film critics about the present and future of cinema – it’s based to some degree on Cheshire’s influential prophetic articles from 1999 about digital cinema, but they follow the conversation where it goes, and its a pretty great read. It was difficult to choose which section to quote, and I’m still not sure I picked the best part.
And once you had cinema, of course, it became very much that way, where it was like going to the temple or something. It was very ritualized in a way, whereas I said that in my article in saying what I was predicting was that it would reverse again, and people would often stay at home to watch the serious things that demanded concentration, that they used to go to the movie theatre for, and people in theatres would be acting more like they used to watch TV, talking and joking and paying attention to other things, being distracted. That’s exactly what’s happened. And it really is interesting, the extent to which it has. Movies, when you and I were younger and really got into them—and especially the movies that were visually so impressive: The Godfathers and 2001s were really immersive experiences—those were things where you went into the theater and were totally absorbed by that experience. You weren’t thinking about anything else, or the person next to you. You were completely unaware of anything else except being completely absorbed in that image.
Girls on Film: Why Audiences Are Responsible for the Future of Cinema by Monika Bartyzel at The Week
This is one of those pieces that feels obvious and revelatory at the same time, with a great call to action to support smaller and less tentpole-y films. I’m not particularly optimistic about it, since the kind of people who will read an article like this, much less act on it, make up a pretty small percentage of the overall audience, but I definitely appreciate Monika’s sentiment, and I hope to follow through on it to some degree once we’re actually going to films regularly again.
Today, Hollywood studios focus almost solely on the blockbuster, and everything else is deemed an “indie film” — a gelatinous designation that holds none of the power of huge advertising budgets and tentpole culture. To break through, an indie can’t just be good; it has to be amazing. A crappy action film can generally make its money back, but a diverse piece of indie cinema must be so good that it inspires critics and audiences to band together and praise it to the top.