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Ray Pride

By Ray Pride Pride@moviecitynews.com

Totally unrelated blog-a-thon: Why your blog must die

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IT’S AN OLD SCREED, ONE THAT I LINKED TO A COUPLE YEARS AGO, but it’s still fragrant. From a site called “kuro5hin.org,” Why your Movable Type blog must die. “You are all pretentious twats. Every last one of you. You’re all latte-sipping, iMac-using, suburban-living tertiary-industry-working WASPs who offer absolutely no new insights on anything whatsoever apart from maybe one specialist field if we’re lucky. Most of you think that you’re writing original content and that you’re making a contribution by licensing your spewings under Creative Commons “Some Rights Reserved” licences, just because it’s the hip thing to do. You think you know all there is to say about blogging because you understand the concept of HTML and CSS, but the horrible truth is that 40% of you are all using the same shitty default layout. Then you take pictures of yourselves looking pensive or making vague allusions to mythology.” [Further spew at the link.]

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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