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Ray Pride

By Ray Pride Pride@moviecitynews.com

Pitchfork's "100 Awesome Music Videos" YouTubeFest

Sloth has its virtues and technology its unintended consequences: Pitchfork Media picks out “100 Awesome Music Videos” with direct YouTube links to every one of them. “We’ve been spending hours enjoying YouTube, falling in love with… music video all over again… takeonme3056.jpg[W]e’re making use of our video-inspired sloth, sharing 100 of our favorite music videos; simply, dozens of clips that, for various reasons… we enjoy watching and hope you’ll enjoy as well.” There’s nothing from the Director’s Label Series; they stuck “to clips roughly from the MTV era. Crucially, they also all had to be on YouTube—we prefer giving you the chance to see a clip to simply talking about one. Best to check these out early and often… it is possible that some record label funcrusher could come around and wrinkle his nose at us pointing you all to a commercial for his company’s product.” [Via Filmmaker; image from A-ha’s “Take On Me.” In the Sunday London Times, Tony Allen-Mills dissects the YouTube tale: “The emergence of do-it-yourself video entertainment — in bite-sized packages that are never longer than 10 minutes and sometimes last only a few seconds — has sent shockwaves through the corporate world of American entertainment, which is scrambling to decide whether to sue YouTube for stealing material or to embrace the huge audience that flocks to the website each day.”]

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch