A Study on the Change of Ubiquitous Cinema and Consumer Culture in the Crisis of Covid-19 : Related to the Conflict between the Cannes International Film Festival, French Theatre Owners and Netflix in 2017
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This paper investigates the redefinition of cinema and the contemporary reconfigurations of film culture in the context of the Cannes incident involving two Netflix films Okja and The Meyerowitz Stories in 2017. The conflict between maintaining tradition and modernizing in terms of cinema reveals a totally different contemporary cinema culture and the definition of cinema itself. Cinema, as a fundamentally communal experience, is devoted to art and, as an individualized cultural experience, pertains to mere entertainment; this duality has been intensively discussed and it leads to further essential questions about the changing culture of enjoying movies. The debate began to be discussed realistically in early 2020, due to the COVID-19 pandemic. Based on the perspective of film sociology, this paper deals with two different ways of thinking about cinema with regard to the changing social position of cinema and the interaction between ubiquitous cinema, society, and the audience.
Abstract
This paper investigates the redefinition of cinema and the contemporary reconfigurations of film culture in the context of the Cannes incident involving two Netflix films Okja and The Meyerowitz Stories in 2017. The conflict between maintaining tradition and modernizing in terms of cinema reveals a totally different contemporary cinema culture and the definition of cinema itself. Cinema, as a fundamentally communal experience, is devoted to art and, as an individualized cultural experience, pertains to mere entertainment; this duality has been intensively discussed and it leads to further essential questions about the changing culture of enjoying movies. The debate began to be discussed realistically in early 2020, due to the COVID-19 pandemic. Based on the perspective of film sociology, this paper deals with two different ways of thinking about cinema with regard to the changing social position of cinema and the interaction between ubiquitous cinema, society, and the audience.
참고문헌 (13)
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