Media

BBC Cut Spending On Talent By £6 Million

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“The BBC spent £6 million less on talent in 2013/14, the Corporation’s latest annual report claims, with a £194 million bill for its star presenters and performers representing a 15% fall in wages over the past five years.”

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Roger Ebert Predicted This Would Happen (But He Didn’t Know The Movie Would Be About Him)

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“Sitting on my sofa, push-button dialing system by my side, I can’t help but feel that I’m filing a dispatch from a future entertainment universe. We should embrace and celebrate the fact that we can now watch great movies on TV the same day they’re in theaters. And yet this development feels like it’s brought on more consternation than joy.”

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The Deep Comfort Of Mediocre Sitcoms

mediocre sitcoms

“The easy tropes and practiced banter, the reliable fulfilling of a sitcom’s tasks, contributed to a sense of permanence. … Here was a world void of dread, danger, and anxiety, a place in which work and play were indistinguishable, in which jobs just meant different aesthetics attached to the same basic glee.” Exhibit A: Just Shoot Me.

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How A Decade Of Digital Distribution Has Hurt The Creative Economy

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“It’s only common sense that the devaluation creative industries face is having a sustained negative effect on the investment available for sustainable artistic careers. Through new groups like the Content Creators Coalition, artists have begun to advocate for themselves. But forging an internet that takes individual rights (including privacy), cultural diversity and sustainable progress seriously also requires that consumers get on board.”

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Video Game Industry’s Obsession With Big Sales Hurts The Art Form

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“It’s as if, through sales figures, profits and other assorted fiscal headlines video games will be able to buy their way to legitimacy. How fitting that a medium which typically encourages its players to exert dominance over the competition would frame its worth as a battle, usually with cinema, as if this were a fight to be won, as if the winner would somehow usurp the loser, as if each venue for human expression didn’t have unique capacity for joy, wonder and meaning.”

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The Beginning Of The End Of The Selfie?

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“The future of photography is the past, both as subject and technique. Time-lapse photography is coming to your smartphone, and when it does, expect to see the passage of time take over all your albums, feeds, and streams.”

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Swedish Filmmaker Releases 72-Minute Teaser For His 720-Hour Movie

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On the last day of 2020, Anders Weberg will release Ambiancé, which is, he says, “an abstract nonlinear narrative summary of the artist’s time spent with the moving image.” The film will “be shown in its full length on a single occasion syncronised in all the continents of the world and then destroyed.” (includes trailer)

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The Rom-Com Isn’t Dead, Exactly – It’s A Zombie

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“The romantic comedy has created, on top of everything else, a new genre: the obituary for the romantic comedy. … Because the truth is that [today's] romantic comedies are, as works of art and pieces of culture, terrible. They are usually some ungodly, unseemly, unsexy combination of: stale, trite, silly, and formulaic.”

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How Do You Measure Impact Of A Movie Or TV Show?

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“What actually gets people moving? Do grant-supported media projects incite change, or are they simply an expensive way of preaching to the choir? Ultimately, the answers may help determine which projects get financed, which formats are favored and how stories are structured.”

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Director Steven Soderbergh On Why He Quit Movies

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It stopped being fun. It just stopped being fun. It really wasn’t. That’s a big deal to me. It may sound like “Why do you have to have fun to go to work?” I don’t know. I like to be in a good mood. The ratio of bullshit to the fun part of doing the work was really starting to get out of whack.

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Director Christopher Nolan (‘The Dark Knight’) On The Bleak, Bright Future Of Cinema

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“A movie’s Friday matinees would determine whether it even gets an evening screening, or whether the projector switches back to last week’s blockbuster. … This bleak future is the direction the industry is pointed in, but even if it arrives it will not last. Once movies can no longer be defined by technology, you unmask powerful fundamentals – the timelessness, the otherworldliness, the shared experience of these narratives.”

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