Written by Once again, the world of cinema is undergoing a noticeable transformation, that in this case is propelled by the confluence of contemporary trends and the unprecedented disruptions brought about by the COVID-19 pandemic. As audiences, filmmakers, and industry professionals navigate through a rapidly changing landscape, it becomes evident that the way we consume and experience film is evolving.
This transformation takes part with the rise of streaming platforms, the innovations in filmmaking techniques and implicit adaptation of traditional movie theaters, the impact of social media on the viewer’s experience and film promotion, and the growth of Artificial Intelligence (AI) use within the creative and operational process.
The subject of such changes lies not only within the form but also the substance of the art. In the sequence of the release of his most recent epic, Killers of the Flower Moon, Martin Scorsese takes part in BBC’s Talking Movies series, where the director descends on a reflection about what the future of cinema holds. In the interview, Scorsese unravels his fears regarding the exponential rise of franchise movies – that many times fail to deliver distinctive storytelling -, the lack of platforms for more alternative cinema, and the fragmentation of films’ landscape.
Cinema and Technology
The COVID-19 pandemic deeply injured movie theater affluence. Data collected from Statista displayed that in the United States before the pandemic, only 15% of the sample claimed to never go to the cinema, a percentage that jumped to 52% between the months of January and April of 2022. One of the most evident effects of such a scenario is the rise in demand for streaming platforms, with preferences shifting towards streaming, as it can be a cheaper option, with a wave of new content ultimately releasing in a digital format on the platforms upon merely two or three months of their debut. Besides providing licensed content, most of the streaming platforms are betting on original movie and series production. The profitability of such an undertaking is connected to the possibility of creating movie and series franchises, gaining not only from viewership but also from branding and merchandise.
However, the cinema is fighting back with the development of cinematic experiences that the audience doesn’t get to partake in from their homes. Some examples could be the IMAX and 4D experiences. The IMAX screen offers unparalleled picture quality on a grand scale, along with elevated sound technology. Furthermore, when a film is recorded utilizing an IMAX camera, the cinematic presentation on an IMAX screen is such that it effectively utilizes the entire expansive screen. The general audience became more invested in the concept with the release of Oppenheimer, after the director, Christopher Nolan, made an appeal to the public to watch it, if possible, in theaters that accommodate IMAX 70mm. The 4D cinema incorporates seat effect simulation with 3D, having an augmented reality paired with seats that shake, turn, or roll accordingly. The technology used in filmmaking is also evolving. One example of such could be the cameras that James Cameron helped design to shoot parts of Avatar 2: The Way of Water, underwater.
Filming underwater on the set of “Avatar: The Way of Water” (20th Century Studios)
Another tool that is becoming more popular in the broadcasting world is AI. Its major use is related to audience data collection and analysis, informing studios about content and market decisions. Based on such knowledge, it can be involved in the production, by casting and location scouting. It can be used in visual effects (VFX), creating more realistic and immersive special effects. AI also established the possibility of screenwriting, by analyzing scripts and coming up with new projects, reducing the costs of labor.
Social media: Interaction and promotion
The film experience is also changing because of social media. The rise in movie rating apps such as IMDb and Rotten Tomatoes, or even more interactive ones such as Letterboxd, has been making cinema more accessible for people and has been adding to the social aspect of cinema. IMDb and Rotten Tomatoes display critics and selected users’ reviews, while Letterboxd is, in a way, a social media app for movies.
Besides these more specific tools, a big part of movie advertisement is being conveyed through social media, such as Instagram, Facebook, or even TikTok. Often, this involves capitalizing on the involvement of well-known individuals in a film project. In that sense, the promotion of movies nowadays doesn’t rely solely on film critics, but also on audience reviews and social media presence. Lately, a greater weight of the marketing campaigns has been shifting towards influencers, such that studios try to control the pre-release narrative by leveraging influencers and social media, which often creates a bias in the public reception of the film, taking up space from the more specialized opinion of critics.
Nonetheless, social media focused advertisement also carries the potential to shift the weight of movie distribution from major studios into theater companies, as Taylor Swift did for her new production, a concert in the film format entitled Taylor Swift: The Eras Tour, that surpassed $200 million globally. This cultural phenomenon is relevant as it allowed Taylor to handle the promotion and distribution of her own movie, allowing for similar deals to take place in the future, and it wouldn’t be possible if it weren’t for the global presence of the artist online.
Taylor Swift fans during the “Eras Tour” concert film at Emagine Canton theater in Canton, Michigan
(Daniel Mears, The Detroit News)
Writer’s strike
Although technology has the potential to be a tool for creatives, it can turn into a way of subjugation, as it carries the potential of labor destruction. In a scenario where media companies have invested billions in streaming services, the compensation for writers was negatively affected. In a broader context, the proportion of television writers earning at least the minimum agreed salary rose from 33% in the 2013-14 period to encompass nearly half of all writers by the 2021-22 timeframe. Writers Guild of America, a trade union that represents more than ten thousand TV and movie writers across the United States, decided to go on strike on the 2nd of May of 2023, to guarantee the survival of writing as a profession. This strike lasted 146 days and had a significant impact on TV and movie production, especially since it gained a lot of sympathy from the audiences. The deal that was made touches on matters such as increases to minimum wage, better pension and health fund rates, greater residuals (such as royalties), including foreign streaming residuals, more transparency with viewership data, and a set of terms concerning the use of AI – such that the use of the tool can’t be forced on writers and the writer’s content can’t be used to train programs. This event has had major significance when it comes to defining the line between creative work and its automatization.
Demonstrators rally outside a studio (Jae C Hong/AP)
Ultimately, although there is a clear potential for technological improvements to harm both creatives and audiences, if conveyed properly, they can serve as tools to elevate the art, to educate the public and to promote critical discussions. This delicate balance underscores the importance of ethical and responsible use of technology, where creatives are empowered to harness digital tools to unlock new realms of creativity and audiences are equipped to navigate the vast digital landscape with discernment, with the prospect of the valorization of the 7th art.
Sources:
The Guardian, BBC, Rolling Stone, Statista, Vox, TIME, The New York Times
Author:
Maria Francisca Pereira
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