The idea of forgettable cinema came to me while reading Matthew Frank’s newsletter for The Ankler where he repeated a thought exercise that one of his colleagues posed.
Name five films of this decade that will go down as classics.
Okay, I’m waiting.
…still waiting.
I consume cinema the way members of Soho House were famed for consuming gak. Also given my movie tastes, you may disagree with what I think of as classics.
My answer would be:
- Sinners – vampires in 1920s America amidst a slice of pre-civil rights life in the deep South
- The Boy and the Heron aka (How do you live?) – A Studio Ghibli film, like everything from Studio Ghibli it’s a masterpiece. Just watch it in Japanese with English subtitles as the English dub is awful.
- The Order – Jude Law as an FBI field agent in 1970s American Mid-West hunting white supremacists.
- The Goldfinger – A retelling of a financial scandal in Hong Kong’s go-go era of the 1970s and 1980s. It draws on the story of the Carrian Group which went belly up in the midst of a corruption and fraud scandal. It saw a bank auditor killed and buried in a banana tree grove. Lawyer John Wimbush was found dead in his home swimming pool. A nylon rope around his neck tethered to a concrete manhole cover at the bottom of the pool. The names had to be changed for legal reasons as the main protagonist George Tan was still alive when the film went into production.
- The Old Woman with the Knife – A film adaptation of a Korean novel about a skilled female assassin coming up to pensionable age. It is a thriller that also addresses an aging Korean society and the invisibility of older people.
Bonus
- Oppenheimer – Robert Oppenheimer biopic by Christopher Nolan that is visually amazing and does some interesting things with the storytelling.
But the point of the thought experiment was the most films now are forgettable cinema and most normal people would have struggled to name five future classic films.
They are watched by millions – yet never become part of culture. This idea of forgettable cinema used to be a novel idea with only the occasional blockbuster; notably the Avatar series, falling into this category.
Now Matthew Frank argues that forgettable cinema applies across all film making output. He described the phenomenon as ‘Cinemanesia’.
Why do we have forgotten cinema?
The problem might not be the films or the film making, but the change to discover and rediscover films. Frank posits that this is down to the way we now consume media.
Pre-Netflix, we had:
- Repeat showings at the cinema, the most prominent example of this for Londoners would be the ‘sing-a-long’ screenings of The Rocky Horror Picture Show.
- Movie marathons and midnight screenings.
- TV re-runs.
- TV broadcast movie ‘festivals like Moviedrome.
- Seasonal standards shown on television, such as Holiday Inn at Christmas time.
- Movie rental shops like Blockbuster.
There is comfort and familiarity in their repetition. Just in the same way that adverts build mental models, fame and salience in our heads through repeated exposure – classic films do too.
Yet we have got to a point where storied film actor / director Robert Redford was better known amongst young adults as the person in the ‘nodding with approval’ man GIF as internet meme, than his film career. The GIF came from Redford’s performance in Jeremiah Johnson.
By comparison Netflix provides us with a conveyor belt of entertaining enough content. We don’t get to build that depth of relationship through repetition. The business model for TV was different. The right films on the right channel had people tuning in because they wanted the familiar.
Instead what we have now is the video algorithmic equivalent of the Spotify playlist or the shuffle play of an Apple iTunes library. Like the music our relationship is largely broken – we can choose something that suits our mood or a broad range of interests.
For most of the time the movies and shows aren’t culture shifting.
Hellhound as a case in point.
Others like Korean drama Hellbound (지옥) have cultural relevancy for a brief while before disappearing again.
I have used Google Trends as a quick and dirty way of showing this phenomenon.
Google Trends isn’t search volume, but the rate in change of search volume and web search volume is an indicative rather than absolute measure of consumer interest.
Channeling my inner Marshall MacLuhan: we have forgettable cinema because the medium is disappearing the message.
All is not completely lost yet.
All is not completely lost. I am a member of Letterboxd, which acts as a sort of ‘movies watched’ diary for me, (you can find my profile here). The Letterboxd community hosts challenges for its members like the Criterion challenge that encourages members to watch films from the Criterion collection in each of several different categories. It’s dynamic is reminiscent of the photowalks and meet-ups that built a real world community around Flickr the photo-sharing site and helped many develop an interest in photography.
More posts similar to this one.