Technology; Cinemas Benefactor
Behind every great movie, another tale can be told, the tale of the studios. Although it may not be as cinematographically riveting or story depth rich, it does however provide a vivid outlook, to appreciate the history and changes that have subsequently resulted in the film industry that we have come to know and love. From the beginning of film, when black and white people, often dressed in ridiculous outfits, seemingly bounced around on the screen the industry was dominated by the ‘big five’ studios, actors were superficially owned by their respective studios, effects only went as far as cutting and pasting film and the proposition of filming outdoors was unheard of, and frowned upon. Now, in a flourishing abundance of freelance and major studios, actors are free to decide upon their own roles, effects can take the audience to another planet or to an apocalyptic earth and we can appreciate it in full high definition on our flat screen televisions, after an unfathomably short 2 minuet download from iTunes. This miraculous change has occurred over a mere 80 years, an inconsequential spec in comparison to humans long process of civilization.
From ‘The invention of photography in 1862 [which] launched a series of discoveries that made film possible’ to 1893 when ‘Thomas Edison’s assistant, WKL Dickson developed a camera that made 35 mm films’(Bordwell & Thompson, 2010), It is indubitable that the film industry relies solely on the technologies that are used to produce it. ‘Yet when it comes to embracing new technologies the industry has always been decidedly unimaginative’ (Sanghera, 2000, p.18). Although a visit to a modern cinema may entail High definition, indistinguishable graphics entwined within reality to construct epic plots, the industry has seemingly struggled to grasp the benefits that new technologies provide. ‘Every significant technological advance...from the introduction of colour in the 1930’s to the emergence of widescreen film in the 1950’s has been met with derision and cynicism’(Sanghera, 2000, p.18). Each advancement, over cinemas relatively short history, has been resisted and often mocked, with cinema entrepreneur, Harry Warner claiming ‘who the hell wants to hear actors talk?’. However, with just a quick glance at the cinemas of today it is evident that the changes were ultimately deemed for the greater good, and Hollywood had ‘turned them to it’s advantage [like] television in the fifties and home video in the seventies’ (Smith, 2000 p. 2).
What must be appreciated is how technology has played a crucial role in the development of the modern method of filming, distribution and viewing. The internet, software, copyright laws, advancements in hardware and synchronization between hardware and software has allowed for an increasingly streamlined and simplified film appreciation process. With new technology in abundance now more than ever and the symptoms of a new shift in the industry have become apparent. With reducing costs, streamlining the pre and post production process and allowing for easier access to the audience in mind, ‘the industry is starting to embrace electronic cinema, also known as digital cinema’
With digital cinema at our doorstep, studios are preparing for the massive ramifications that will ripple through the industry. With 19 of the 20 highest grossing films produced in America already using Digital in 1999, according to China Daily (1999, p. 9), Gavin. S (2000, p. 2) claims that by 2000, four of the seven major hollywood studios had embraced the new technology. However, what will these ramifications entail, and how will the benefits of the new technology effect the industry. According to New Straits Times (2001, p. 12), producers today are incorporating advanced technology within the film making process as a whole to make the experience quicker and easier. The transition to digital by some producers has been approached as a blessing, as the implication of implementing digital bypasses the arduous process of copying film, with US producer, Adam Green stating ‘It was a nightmare to make changes over the shot, and put up with making many copies of the film which eventually meant losing quality over time’ (Film Industry Changes with Technology, 2001 p. 12). Now, ‘with digital technology, there is no lack of quality, because all data will be transferred in digital format rather than analogue’(film industry changes). Subsequently, as New Straits Times (2001, p. 12) sates, what would have taken days to edit prior to the new technology can now take as little as half the time. Furthermore, the cost of film, of which previously stood at $2 billion America wide, according to Financial Times (2000, p. 18), will be reduced severely. ‘The technology will mean that the cost of making copies of films, distributing and storing them will be cut drastically’ (Sanghera, 2000, p.18), as the hundreds of reels of film that were crucial to production are now no longer necessary.
Although digital cinema can cut costs and time, cynicism has remained, and for justified reasons. As digital technology will ‘eventually give way to “Digital Virtual Studios” which requires no physical assets such as props’ (Technology to change Film Trade, 1999 p. 9) studio employees are unnerved by the inevitable layoffs that will result from digital implementation. According to China Daily (1999, p. 9) the future of the digital film industry will introduce ‘Digital artists’, of whom will replace the traditional set casts, such as set designers and costume managers. Digital artists will still be required to be artistically skilled, however computer excellence will be a predominant prerequisite that traditional cast workers will not be able to compete with. This overwhelming downfall may spell the loss of thousands of jobs.
Conclusively, Digital cinema is a revolution, just as photography was in the 1800’s, however studios have a heavfty decision on their hands. Just as sound and colour become inevitable aspects of cinema immediately after the technology was available, digital will undoubtedly be the future. However the cost of implementation will be cause for delay. According to (Sanghera, 2000, p.18) the remarkable saving will be initially be offset by the cost of installing the new technologies. The inventory list of new cameras, software, hardware and projectors will be accompanied by a substantial monetary number. Slowly the digital technology will invade, and those who resist will either be forced to surrender of suffer the fate of becoming obsolete.
Bordwell, D & Thompson, K 2010, ‘Film Art an Introduction’, McGraw-Hill International, New York.
Sanghera, S. 2000, ‘E-movies are ready to roll: TECHNOLOGY FILM INDUSTRY: Cinema is on the brink of a digital revolution, writes Sathnam Sanghera’, Financial Times, United Kingdom, London (UK).
Smith, G. 2000, ‘"Letter from the editor: Before the revolution"’, Film Comment, vol. 36, no. 5, pp. 2-2.
I-Mei, L. 2001, ‘Film industry changes with technology’, New Strait Times, Malaysia, Kuala Lumpur.
Technology to change film trade 1999, China Daily, New York, N.Y.
