[...] going to the multiplex has felt like witnessing the execution of bullet-pointed instructions on a front office memorandum rather than a creative collaboration by human beings.
An art form that has traditionally required the use of prohibitively costly tools, cinema in the capitalist world has from its inception been shaped by the demands of commerce - those working under a regime than a corporation, meanwhile, must negotiate their own compromises. Such a thing as a free …
[...] as time passes, one must endeavour to discriminate between changes that have taken place in cinema and changes that have taken place in one's self. I could not imagine, for example, enduring every new multiplex release in the 2010s as I did in 1997 [...] That I no longer exercise the same omn…
Film history is borne along by technological innovation, and by ructions in business models, and by the whims of the viewing public as ineffably impacted by broader socio-historical-political trends
[...] for film theorist Rudolf Anheim and contemporaries, the cinema's potential as an art form largely ended with the coming of the Talkies; for the Boomer counterculture critics, Steven Spielberg was Satan incarnate, the revenge of Rockwellian repression, a hawker of tie-in toys and pre-packaged …
