- Brenda Hamlet: production and view on movies is changing due to new technology
- Fans have more access to movies through gadgets, movie channels, DVD players and multiplex & single screen cinemas
The Big Screen: The Story of the Movies and What They Did to Us (2012) by David Thompson
- Darkened cinema + Big screen = immersive experience > defines concept of spectatorship & movie-going
- Thompson: this no longer exists in modern cinemas
The Good, the Bad and The Multiplex - What's Wrong with Modern Movies? (2012) by mark
Kermode
- Modern movie more revolved around technological production and distribution than actual consumption
- Movie experience has been dominated by technology (e.g. online booking systems & ticket machines)
- Leos Caraz (writer & director of Holy Motors): 20th century film dying out and digital film
emerging - Fabien Riggall (founder of Secret Cinema): "there is a cultural shift happening. Live cinema is
the future."
Secret Cinema: Don't Tell Anyone...
- Secret Cinema - interactive movie events: warehouse/vintage picture palace transformed into
iconic movie settings, favourite scenes improvised, audience participation
(e.g. costume, props linked to movie, special tasks), 'live cinema journey' - Julian Spooner (actor in Bugsy Malone): "Secret Cinema takes the movie goer inside the
cinematic narrative so they become part of the
onscreen action." - concept started off as a one-off screening > popular, so grew into Secret Cinema
- Fabien Riggall (founder): "It is like what cinema used to be. Cinema as the community as a
communal experience - a place where people can be inspired."
Holy Motors: Hidden Identities and the 21st Century Movie
- Evolution of filmmaking: Chaplin (silent film) > surrealism (Bunuel and Cocteau), Nouvelle
Vague (Melville and Godard) > digital age of motion capture CGI
animation - Idea of movie links to idea that the internet is one big performance space in which people take on a range of disguises and hidden identities from usernames and avatars
- In the movie, a car is worried they might be sent to the scrapyard - a metaphor for old films in a
movie archive
Tortoise in Love: The Village Movie
- Browning (comedy writer) pitched idea of movie at local village hall
> to raise £250,000 needed to make film, he offered villagers a stake in the film
for as little as £20, to buy a mini-mogul share or maxi-mogul share investment for
£500 and up
> unique crowd-funding scheme enabled people to share profits
appear in film - Homes, businesses, gardens used for production stages, wardrobes, catering trailers
- Local hair salon used for make-up & styling
- Women's Institute made meals for cast & crew
- Musical score composed by a neighbour & performed by village choir
- Funding for distribution & exhibition provided by BFI
> e.g. posters, press packs, prints, Q&A with director, post-screening discussions with
cast members
Independent Distribution: Pop-Up Cinema
- Pop-up cinemas: unusual setting, decadent interior, popcorn, paper tickets, elaborate signage, flip-down seats
> designed to evoke feeling of traditional cinema-going rather than modern
multiplex - screenings of cult movies, shorts, mixture of classics
- often take place in disused locations
> urban recycling
> e.g. Cineroleum takes place at a disused petrol station in East London - Pop-up cinemas represent golden age of film:
> tradition of Saturday morning kid's cinema (e.g. Family Friendly Saturday
Film Club in Manchester)
> film awards (e.g. 'Cannes in a Van' - 'four-wheel film festival' - aims to give
exposure to independent films)
> food (e.g. Film Fugitive offers homemade food and a pop-up bar & The
Nomad partners with caterers, chocolatiers and gourmet popcorn makers) - Secret Cinema - example of one of the largest pop-up cinemas
- Pop-up cinema is flexible and adaptable
- Can be used as an opportunity to screen specialist/low budget films that find it difficult to get distributed
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