Massive technological advances in the production and consumption of long films have once again led to allegations that the cinema era is over. The production, distribution and display of digital films have witnessed the disappearance of films in the form of rollers. The availability of what we want to see, whenever and wherever we want, has completely changed our relationship with the animation.
The news that Netflix is showing new films to the Quinn [1] and Alfonso Quarron [2], with its limited cinematic show, in preparation for the upcoming awards season, is seen as another fundamental change in how we get to movies, "He said. But while the age of cinema is barely more than a century old, its reliance on technology means its perpetual passage through periods of turmoil. So perhaps we should look at the earlier declarations of death and the end of the most beautiful and popular arts, to know whether the messengers of death cry out with false relief again?
Reaction and re-innovation
"End of the Cinema" was first announced in the late 1920s when the sound was synchronized with a silent movie. In fact, the films were never silent, as music was always accompanied by a film show, either by a solo pianist or an entire orchestra.
The next crisis came in the late 1970s with the introduction of home video equipment to record and run programs and movies from television
Still, the intractables argue that sound corrupts the artistic nature of cinema and makes it purely a form of collective entertainment. In fact, the film industry had to really change to accommodate the technology needed to record sound as well as the visual image, and there was a short period in which film production was unable to progress and faltered because of these innovations. But in the mid-1930s, the sound of the sound became widespread, making it a more popular form of mass entertainment, revealing a vast array of dialogues that were immortalized and engraved in memory.
The threat of the couch
The next major bump came in the way of cinema after World War II, and the beginning of the consumer era. Where the post-war economic boom has seen the reception and employment of a range of new household appliances on a large scale. Devices such as refrigerators, hi-fi systems, as well as televisions; were the new enemy of the film industry. When people stayed at home watching TV rather than going to cinemas, the face of filmmaking changed. The main studios have created fewer films and focused on making films more exciting and dazzling to the viewer. Technicolor was also used on wide displays and was designed to be differentiated and completely different from what is available at home.
However, this stagnation in film production did not last long; large studios quickly found their way to the emerging small screen products. Most of them soon set up television stations to produce television series for television shows. So the TV winds came as Hollywood ships crave.
The next crisis came in the late 1970s with the introduction of home video equipment to record and run programs and movies from television. There was another recession in the presence of the cinema audience, but this came back to a variety of problems, most notably the bad situation of many cinemas that were often old and worn and in inappropriate locations. The domestic video was met with hysteria and horror before studios realized that there was now a demand for recorded videos from classic films, the same films that consumed a lot of their archives. Where life has revived, at zero production cost, and brought in a huge stream of revenue.
Amazon, Apple and Netflix have evolved from being delivery systems to full-fledged entertainment companies
This also led to a new pattern in the distribution of films. The film now has a show period in the cinema, then a video version is released and then sold to broadcast networks to be shown on television. Again, this alleged "death" was a rewarding new birth, continued with the invention of a DVD DVD [3] and Bluray [4] (Blu-Ray). In fact, the recurring problem in the film industry was laxity and inability to see the potential benefits of new technology. The latest revolutions on cinema - movies and television shows on digital devices - are more problematic, a revolution that has had a serious impact on Hollywood's big studios (which are now just a stepping stone in the wheel of globalized multinationals).
Awards and easy access
Amazon, Apple and Netflix have evolved from being delivery systems to full-fledged entertainment companies. To produce and distribute their products to a huge international audience, and provide budgets for dwarfing those studios. With the promise of the Oscars and the Golden Palms in the future, the recognition and respect of critics will make them the main forces in filmmaking.
So, is this the death of cinema (again), or is it another transformation of a global industry commensurate with changing habits and opportunities? In fact, the film "Rome" by Alfonso Quarron actually won the Golden Lion at the Venice Film Festival in 2018, and it was usually [1] that we had to wait almost a year to see the film while finishing his tour of festivals and awards. But the movie is now available on Netflix for everyone to see at home. Can a film-watching experience become an exclusive venue for large-budget mega-movies that employ techniques such as 3D Ultra-HD, 4 DX and any other technical surplus available?
New production companies will need to address the new problems and opportunities they will have to face soon
In fact, the presence in cinema is reviving. Attendance in 2018 is the highest since 1970, so some of the ways we use cinema are still quite conventional. What is challenging - and limited - is the ability to select and access a wider range of films.
Access is now the main feature of platforms, but even this will be in constant flux as technology is constantly evolving. These new production companies will need to address the new problems and opportunities they will have to face soon. They will soon realize that cinema never dies, it just changes.
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Margins:
(1) Joel David Quinn and Ethan Jesse Quinn, known as the Quinn brothers, write, film and produce films together, two of the most famous filmmakers.
(2) Mexican director, producer and filmmaker, among his most famous films are Harry Potter, the Prisoner of Azkaban, and an attractive film by Sandra Bullock.
(3) DVD.
(4) CD to play multimedia files such as video, audio, games and pictures and released as a CD developed for DVD.
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Translation (Sara Al Masri)
This report is translated from: The Conversation and does not necessarily reflect the location of Medan.