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Ray Pride

By Ray Pride Pride@moviecitynews.com

Thai film censorship passes; PG-20 in the mix

Four palms
Kong Rithdee reports at varietyasiaonline: “Thailand’s National Legislative Assembly passed the controversial Film Act… replacing laws that have been in place largely unchanged since 1930. An eight-month-long campaign by local film professionals to end censorship went unheeded. The new law stipulates a complex rating system which still gives the state the right to ban a movie and prevent its release in the kingdom. The rating system is made up of “P” (films that are of educational value and should be promoted for Thai auds), “G” (fit for all age groups), “under 13 not admitted,” “under 15 not admitted,” “under 18 not admitted” and “under 20 not admitted.” However, it does not include an “under 24″ category which had been discussed in some media circles. Notably, the Film Act authorizes the state to forbid the release of movies that “undermine or disrupt social order and moral decency, or that might impact national security or the pride of the nation”. [More 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.”
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