THINK PIECE
SHOULD MOVIES BE MADE FOR THE BIG SCREEN? Katie Kasperson argues in favour of cinematic filmmaking, stressing its increasing importance in the era of at-home streaming
ust as theatre is meant to be seen on-stage and fine art in a gallery, films are best viewed in cinemas. Besides offering wall-sized screens,
Interstellar , Dunkirk and a slate of other films which reminded us of the artistry involved in their making. In service of telling larger-than-life stories, Nolan shoots on IMAX cameras and engineers his audio for that surround-sound experience (though his 11th feature Tenet faced flak for its sound mixing, suggesting that at-home, subtitled viewing might be preferable). Despite streamers pushing for limited theatrical releases – wanting content on their platforms right away – the desire for moviegoing is alive and well. Nolan’s own Oppenheimer made up half of last year’s famed Barbenheimer phenomenon, in which Greta Gerwig’s Barbie and Nolan’s atomic biopic shared a 21 July release date, causing an eclectic mix of film lovers to show up (and dress up) for a double feature. Together, Barbie and Oppenheimer raked in a collective $2.4 billion, landing at first and third in 2023’s box office rankings, respectively. Culturally, there’s an appetite for cinematic viewing, though technical
distinctions between at-home set-ups also contribute to its case. Streaming relies on two variables: the audio-visual quality of your chosen device and the strength of your connection. One of these falls flat, and the whole experience is tainted (for example, I watched Dune on a 13in laptop, in a bright room, with unstable internet; I can’t recall a single detail about the film itself). Most (legitimate) streamers offer their titles in HD or UHD, addressing the visual aspect of audio-visual quality, but audio will depend on whatever sound system you have at home – whether it’s built-in speakers or an external arrangement. Cinemas remove this variability, levelling the field for everyone in the audience. Some even show re-releases of older movies, suggesting a film deserves to be seen in cinemas whether it’s your first watch or 50th. It’s easy to forget that, if a film is good enough, audiences will watch it more than once – and on more than one platform. A standard theatrical release followed by online availability, rather than straight-to-streaming, is a best-of-both- worlds scenario which supports cinemas and streamers. There’s an immeasurable magic associated with seeing a film on the big screen; it’s a sensory, social experience that’s stood the test of time. Above all, an over-reliance on streaming runs the risk of isolating audiences. Let’s all get together and go to the movies!
surround-sound speakers and a lack of ambient lighting, cinemas provide an invaluable cultural experience – ideally devoid of any distractions – for motion picture lovers. We’re knee-deep in the era of at-home viewing – propelled by the pandemic – which has introduced a straight-to-streaming approach many creatives (including Tom Cruise, whose Top Gun: Maverick has now hit Netflix after a record-breaking box office run) have criticised. Besides being financially catastrophic to local cinemas and the communities they serve, this business model removes the act of moviegoing, profiting instead on convenience. No one has been a louder, more vociferous spokesperson for cinema than Christopher Nolan, the acclaimed director of this year’s best picture winner Oppenheimer , as well as Inception ,
LET’S ALL get together AND go to the movies! ”
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