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Nov 9, 2022 · *originally published by [art-critique](https://www.art-critique.com/2022/10/quarrive-t-il-au-cinema/).  ([english version](https://www.edugon.studio/on-cinema))*

Recent trends describe the current state of cinema as fragile and in decline. Industry figures have expressed this opinion, notably Martin Scorsese who in 2019 wrote an [essay](https://www.nytimes.com/2019/11/04/opinion/martin-scorsese-marvel.html) arguing that "the situation at this moment is brutal and inhospitable to art." Many of these statements blame franchise films and the modern way of producing them as the main drivers behind cinema becoming increasingly homogeneous and formatted, resulting in a market saturated with movies that look and *feel* the same.

Studios today have the option to release a movie in cinemas, but since the disappearance of DVDs, movies [have lost](https://twitter.com/todd_spence/status/1561480505882619904?s=61&t=ad-AqySDngTEKATKsz99FQ) most of their ability to make money after leaving theaters. Revenue now comes almost entirely from the number of tickets sold, which means that maximizing profits now means maximizing audiences. A movie is more accessible across cultures if it has a simple style, an easy-to-follow plot and few cultural or ideological references. This explains why many studios now consider following a repetitive (but successful) formula as more important when making a movie than the individual creative talent behind it.

Streaming releases have become an alternative to theatrical ones now that every major studio has launched its own platform. This is not always a bad option since it allows smaller movies and filmmakers to instantly reach an audience of millions without having to worry about selling tickets. But streaming platforms need users to consume as much content as possible to be profitable, and since [hours spent](https://www.independent.co.uk/tech/netflix-downloads-sleep-biggest-competition-video-streaming-ceo-reed-hastings-amazon-prime-sky-go-now-tv-a7690561.html) on the service justify subscription prices, many of their productions are designed to be consumed passively, while users cook, clean, or browse their phone. These movies are not cinematic experiences but rather *ambient* ones, where results are "as negligible as they are interesting," as Brian Eno wrote when defining [ambient music](http://music.hyperreal.org/artists/brian_eno/MFA-txt.html) in 1978.

These two recent tendencies have helped studios and the film industry grow, but sequels, remakes, and movies based on existing material now capture most of Cinema's profits. Only 3 of the [top 50](https://en.wikipedia.org/wiki/2010s_in_film) highest-grossing worldwide films of the 2010s were original stories.¹ Additionally, "good" (or at least recognized) Cinema is still struggling. The Oscars, arguably still today's biggest event and celebration of popular cinema, have seen their viewership steadily decline for decades. 55 million people watched the awards in 1998, compared to 41 million people in 2010 and just 10 million in 2021. Recent Academy Award winners have also [grossed less money](https://www.the-numbers.com/movies/comparisons/Best-Picture-Oscar-Winners) as time goes by. The combined Best Picture winners from the 1990s made around $5 billion worldwide, while combined winners of the 2000s made $3.4 billion and those of the 2010s, $2 billion.

This is the main idea behind recent statements and opinions on Cinema: While globalization has strengthened the film industry, movies have lost economic and cultural influence. Cinema now risks not being the most popular form of storytelling in the 21st century, and newer forms of artistic expression could take its place.

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Even if the modern way of making movies is partly responsible, it would seem that new consumption patterns are also at the heart of this situation. Internet speeds started to increase globally in the early 2010s and the primary way people express themselves online evolved from text and photos to eventually, video. As phone cameras got better, photo-sharing services like Instagram started pushing ordinary people to take and share pictures, not only professional photographers. Snapchat pushed this even further by making the camera, not content, be the first thing users see when opening the app.

A collective of ordinary people became the main authors of mass amounts of content and media that started to be uploaded, shared, and consumed online. Social media companies soon needed to show posts based on popularity to keep users longer on their apps and make their platforms more attractive. This began in 2009 with the introduction of likes and retweets as tools for finding the most engaging posts, but rapidly escalated. By 2014, most social media platforms showed content based on their engagement, not in chronological order. This marked the first time that algorithms chose what people saw and the beginning of *viralization*, which allowed content from anyone on earth to reach an audience of millions (now billions) of people.

Recent companies like TikTok have thrived by taking these new dynamics even further. Since the only way to browse content is by swiping up or down, TikTok's algorithm can learn about users' interests with every single interaction they make –if something's not interesting, the user will swipe quicker. Combined with its near-infinite supply of videos from all cultures and languages, only a couple of minutes are needed to learn and personalize content for anyone on earth. Since algorithms are also set as the main referees of what people see, TikTok helps people go viral without the need for [network effects](https://julian.digital/2021/12/20/the-power-of-defaults/). Any user can reach millions of views without fame, status, followers, or even friends on the app. The implementation of these dynamics into the design and mechanics of the app is partly responsible for TikTok's huge success. The company seems to also understand their impact, stating in [April 2022](https://www.cnbc.com/2022/06/16/tiktok-were-an-entertainment-app-not-a-social-network-like-facebook.html) that they didn't see themselves as a social media platform, but rather an "entertainment company."

⠀

Cinema then found itself in the middle of this new changing world, but failed to adapt. It soon started to be consumed like every other form of online media, getting transformed in the way: as movies became available anytime and could be paused, they lost some of Cinema's continuousness. Since movies also became available anywhere, people started watching them alone or with few others, which broke Cinema's locality and collectiveness. And as phones and computers became the primary screens for most people, Cinema lost the big screen.

This is where Cinema lost its grandeur and got transformed into simple content. Without these qualities, movies risk not being the primary storytelling vehicle for the 21st century. But I don't think this means cinema is dying, but rather that it is evolving. There is an [old saying](https://www.ben-evans.com/benedictevans/2020/12/13/what-comes-after-smartphones) that "the first 50 years of the car industry were about creating and selling cars, but the second 50 years were about what happened once everyone had a car." After a majority of people owned one, they transformed businesses, suburbs, cities, people, and culture. Access to the internet is [on](https://www.article19.org/resources/un-human-rights-council-adopts-resolution-on-human-rights-on-the-internet/) [track](https://www.theverge.com/2016/7/4/12092740/un-resolution-condemns-disrupting-internet-access) to become a human right, and the number of smartphone users is rising rapidly, with [83%](https://www.bankmycell.com/blog/how-many-phones-are-in-the-world) of the world population owning one in 2022 (!).

As these technologies become universal like cars before them and algorithms determine more and more of popular culture, it seems like we're entering a democratization of media creation that allows anyone's voice to reach a global audience. But content chosen by algorithms only represents the average of everyone's tastes and interests. This is where filmmakers have the opportunity to think about how they could play with these new formats and adapt the cinematic experience. To do so, Cinema might need to move away from some of its traditional characteristics and embrace other new dynamics.

⠀

In this sense, TikTok's success could mean that short-form portrait video is an initial evolution and answer to the question "what happens to Cinema when everyone has a phone and Internet?" But as movies, technology, and people keep changing, short-form video might evolve even more and resemble Cinema even less. At that point, will it still be cinema, or something new?

What is happening to Cinema?

i don’t know

Globalization has strengthened the film industry but movies have lost economic and cultural influence. Cinema now risks not being the most popular form of artistic expression in the 21st century.   (english version of ↑)

Qu'arrive t'il au Cinema?

La mondialisation a renforcé l'industrie cinématographique, mais les films ont perdu en puissance économique et influence culturelle. Le cinéma risque maintient de ne plus être l'expression artistique plus populaire du XXIè siècle.

designed and deployed a personal website to share my work and thoughts. all design by me

edugon.studio

encore

simple website to share my notes and thoughts on several books/articles/films that I've found interesting over the years.

edu notes

designed and deployed a website with the artworks as a focus. all design done by me.

eduardo gonzalez

2023