A very quick post at Film Studies For Free today to bring you a fascinating futurological film and film studies resource: the video of a very well informed panel discussion on where cinema is going.

It features, among others, film scholar extraordinaire David Bordwell, who, as a phenomenal researcher of (practically) the entirety of cinema's past and present, is definitely one of the best qualified people in the world to comment on cinema's future.

The video is a must see if you're interested in the future of film technologies of production and especially of distribution and exhibition. It is part of the 2011 Vancouver International Film Festival collection at Vimeo.

Future of Cinema - Looking Forward After 30 Years
Event description:

The first few chapter headings in a film we did not program at this year's [Vancouver International Film Festival] VIFF are: “Technology Is Great”, “The Industry Is Dead”, “Artists Have the Power”, and “The Craft Is Gone.” To which celluloid-loving film festival organizers might ask: Is it? Do they? Where on earth are we headed? And why?

VIFF has come a long way in its 30 years and never has the future of cinema--and VIFF's future--been more uncertain. Will it be bright and splendid and fair or will it move so quickly that a great deal of what is valuable will be lost before we know it? There are now dramatically more “film festivals” and “films” being made than ever, yet some fear that the industry may be dead. Filmmakers are acutely worried for funding, yet need to operate on a growing number of fronts. Given that the numbers of hours in a day and the numbers of days in a life remain fixed, what limits should we council for our own appetites? Why might we miss the Hollywood Theatre and Videomatica? Given that cultural agencies seemingly have shrinking resources but more new media and film festival applicants every year, will the centres hold or is babble ascendant? Will VIFF's function as an annual international universalist festival be superseded by myriad niche events?

Technology is indeed great in that it has put the means of creative motion picture production in almost everyone's hands, but will the best artists be the ones to be recognized? The entrepreneurial spirit tends to favour change in hopes that it may profit from it, but will artists have the power? When entrepreneurs benefit, will consumers benefit? Will cultural institutions that have taken years to build remain viable? Will cinema, metrics of quality and craftsmanship and, ultimately, quality of life be improved or even be sustainable? What do you personally care about for the future of cinema to offer? What should VIFF 2020 aim to be?

Here to wrestle with these sorts of questions—and yours—will be a distinguished group of panellists including: David Bordwell, film critic, academic and author of numerous books on cinema; Simon Field, film producer and former Director, International Film Festival Rotterdam; Andréa Picard, film critic and programmer, formerly of the Toronto International Film Festival and the Cinémathèque Ontario; Tom Charity, film critic and Vancity Theatre program coordinator; and Alan Franey, director, Vancouver International Film Festival.

• The tracks of Sully’s tears: disability in James Cameron’s Avatar by Dana Fore
  Examining disability issues in Cameron's futuristic fairy tale reveals more complex and potentially sinister ideas at work.
• The Social Network: the contemporary pursuit of
  happiness through social connections by Robert Alpert
  The Social Network reenacts the U.S success myth and places it in the contemporary context of virtual realities in which connections are monetized and each person is emotionally detached from the next. 
• Baz Luhrmann’s Australia: when excess isn’t parody  by Stephen Papson
  Parody, excess and mythology intermix, producing contradictory readings of Luhrmann’s Australia.
• Fear and loathing on Brokeback Mountain by Craig Snyder
  A gay love story for the ages? Let's hope not. A textual analysis of how homosexual desire is disciplined within Brokeback Mountain.
• There's a sucker born every minute. Audiences blog about Sucker Punch. by Chuck Kleinhans
  A search for the film Sucker Punch on the microblog Tumblr provides a rich data collection to study commonplace audience discourse about a commercial entertainment film and New Media as an example of phatic communication.

• Decay of the aura: modern art in classical cinema by Susan Felleman
  A study of real works of art—including figural sculpture, “Entartete Kunst” (works of modern art deemed “degenerate by the Nazi regime), and abstract painting—as incorporated into three popular fiction films of the classic period (The Song of Songs, 1933; Venus vor Gericht, 1941; and The Trouble with Harry, 1955), reveals that when an art object becomes part of a fiction film, it enters a space of its own symbolic appropriation; aura is replaced by (unstable) signification.
• Oil drilling and the search for the “golden shrimp”:
  the myth of interdependence in oil drilling films by Robin Murray and Joe Heumann
  Louisiana Story (1948), Thunder Bay (1953), Dead Ahead: The Exxon Valdez Disaster (1992), Black Wave: The Legacy of the Exxon Valdez (2009), and Crude (2009) draw on a mythology that suggests the oil and fishing industries can work interdependently once appropriate safety precautions are in place.
• American Medusa: Bette Davis, Beyond the Forest, femininity, and Camp  by David Greven
  King Vidor’s Beyond the Forest allows us to consider the feminist and queer relevance of the theme of female transformation in Bette Davis films and to revisit and challenge the category of the Camp Classic.
• Taken by Muslims: captivity narratives in
  The Lives of a Bengal Lancer and Prisoner of the Mountains by Claudia Springer
  A 1935 Hollywood film's vilification of Muslims is countered by a nuanced Russian film from 1996, with both revolving around the abduction of non-Muslims by Muslims.
• A question of audience: revisiting Perry Henzell’s The Harder They Come by Ulrick Casimir
  A modern attempt to unpack Henzell's iconic film, analyzing the complex relations between British and U.S. conceptualizations of the Caribbean and the film itself.

• At the global market: Ousmane Sembène’s Moolaadé
  and the economics of women’s rights by Amy E. Borden
  As both a tool used by contemporary activists, such as Tostan, and within its plot, Ousmane Sembène’s final film Moolaadé demonstrates how West African women may gain collective access to juridical and political power by using local cultural customs to resist the practice of female genital cutting.
• Serbian cutting: assemblage and the archival impulse
  in the films of Dušan Makavejev by Greg DeCuir, Jr.
  "If Serbs are fond of slaughtering people, there must be a method of film cutting that corresponds."
• Global capital’s false choices in the films of Laurent Cantet by Jessica Livingston
  By looking at the four major films of French filmmaker Laurent Cantet, we receive a valuable window through which to view the false choices offered by the contemporary neoliberal economy.
• Narrating topography: Still Life and the cinema of Jia Zhangke by Eric Dalle
  Jia Zhangke’s environmental fiction film, Still Life, explores the effects of the Three Gorges Dam on the emotional lives of individuals from different social strata.
• Redeeming the woman from Maoist China in China Cry: A True Story by Jing Yang
  This 1990 filmic narrative of the Christian redemption of a Chinese woman from Maoist political frenzy exemplifies residual U.S. Cold War thinking that serves to contain the ideological other.
• Let’s get lost: unmapping history and Reformasi in the Indonesian film Tiga Hari Untuk Selamanya by Dag Yngvesson
  Riri Riza's deceptively lazy 2007 Javanese Road Movie attempts to disorient itself from the pervasive sociopolitical apathy of contemporary Indonesian youth by slowly eviscerating the ubiquitous formal, narrative and cultural structures that have imbued the problems of recent history and resulting status quo with a nostalgic, translucent sheen.
• The Nakba and the construction of identity in Palestinian film by Inez Hedges
  Performative memory serves as the counterweight to dispossession from the land.

• Capital limits on creativity: Neoliberalism and its uses of art by Jyotsna Kapur:
  Why the “creative economy” is a capitalistic invention, hostile to art and ultimately to human creativity.
• “Creative Industries,” neoliberal fantasies, and the cold, hard facts
  of global recession: some basic lessons by Chuck Kleinhans
  The international financial crisis provides the ultimate stress test for myths about today’s media culture.
• Media art and economics: resources Annotated bibliography by Chuck Kleinhans
  

• Woman with the movie camera redux: revisiting the position of women in the production classroom by Jennifer Proctor, River E. Branch, Kyja Kristjansson-Nelson
  A call and template for a responsive pedagogy addressing the pervasive violent representations of women in student films and the continuing under-representation of women the culture of production — a critical echo of and expansion upon Michelle Citron’s and Ellen Seiter’s call in 1981.
• Digital distribution, participatory culture, and the transmedia documentary by Chuck Tryon
  Explores the role of digital media reshaping the distribution, exhibition, and reception of documentary films.
• Claims to be heard: young self-expressivity, social change, and the Educational Video Center by Stephen Michael Charbonneau
  A historical and critical overview of New York-based Educational Video Center, a leading youth media organization, and its auto-ethnographic work with disadvantaged communities.
• Ethics, politics and representation in Child of Mine, a television documentary on lesbian parenting by Lizzie Thynne
  Re-interviewing her main character from a documentary on lesbian custody she made for UK Channel 4, Lizzie Thynne explores the ethics and politics of filming one's own community for broadcast.

• Clips, clicks and climax: notes on the relocation and remediation of pornography by Julian Hanich
  Moving-image pornography on the Internet has facilitated and intensified the masturbatory experience due to a double tendency toward privatization and individualization. This becomes particularly obvious when compared to the time when porn films were projected in theaters and consumed with other, mostly anonymous viewers.
• The excess of porn: response to Julian Hanich by Magnus Ullén
  Considering the relation between pornography and different media is important, yes; but it will be difficult to historicize pornography without first historicizing the mode of reading that gave rise to the concept of porn in the nineteenth century.
• Back to the Golden Age by Thomas Waugh
  This brief intervention in the current conversation about porn contextualizes the debate within the history of porn studies and Jump Cut’s contribution since the 1970s to a materialist-feminist understanding of sexual representation.
• Porn: it’s not just about sex anymore by Nina K. Martin
  Porn's shift to online and mobile device mediums has de-stigmatized the term to the point of banality, linking "porn" to non-sexualized notions of excess.
• Beyond porno chic by Jose B. Capino
  Internet porn viewing and spectatorship at adult video arcades are more similar than we imagine.
• Pornography, technology, and masturbation: response to Julian Hanich by Peter Lehman
  Society hysterically fears the dangers of pornography and masturbation while academia represses it, and that aspect of the historically complex interaction between media, technology and porn is lost in the process.

• Loin du Vietnam (1967), Joris Ivens and Left Bank documentary  by Thomas Waugh
  Far from Vietnam, the collective French film of 1967, produced in solidarity with the Vietnamese people under U.S. attack, is explored in relation to its historical context on three continents, to its coalitional politics and the solidarity genre in general, and to the forum it provided to one contributor, veteran communist filmmaker Joris Ivens.
• Re-conceiving Misconception: birth as a site of filmic experimentation by Roxanne Samer
  This cultural history of Marjorie Keller's birth film Misconception (1977) seeks to release the film from past dichotomizing interpretative binds with the hope of opening it up to further future interpretations, re-looking and better appreciation.

• Archaeology of flesh: history and body-memory in Taxidermia by Laszlo Strausz
  As a grotesque body film with comic corporeal exaggerations, Taxidermia outlines a complex argument about 20th-century Hungarian history and historical memory.
• Texas Chainsaw Massacre: the Beginning: a cultural critique of the Bush-Cheney Administration by Rod Buxton
  Through a dark poetics of brutality and mayhem, Texas Chainsaw Massacre: the Beginning explores the militarism and economic fallout that resulted from the political policies of the Bush-Cheney Administration.
• It takes a child to raze a village: demonizing youth rebellion by Andrew Scahill
  When children attack! The child collective horror film presents a nightmare scenario of childhood in revolt — a revolution against systems of surveillance, control, and heterosexual kinship.

• Books on film sound review by Michael Chanan
  Two books about film sound come at their subject from completely different angles.
  • Mark Kerins, Beyond Dolby (Stereo), Cinema in the Digital Sound Age
  • Andy Birtwistle, Cinesonica: Sounding Film and Video
• Iranian film opposing regimes of voyeurism review by Jyotika Virdi
  Displaced Allegories: Post-Revolutionary Iranian Cinema by Negar Mottahedeh
  Post-Revolutionary Iranian Cinema is seen as a dynamic alternative to Hollywood's dominant voyeurism codes, while its narratives are displaced allegories that circumvent the state's modesty laws.
• Darwin at the movies by David Andrews and Christine Andrews
  This review of Barbara Creed's book Darwin's Screens also examines the use of evolutionary ideas in the field of film studies.
• Star Trek’s allegorical monomyth review by Elspeth kydd
  David Greven in Gender and Sexuality in Star Trek: Allegories of Desire in the Television Series and Films tackles complex issues within this large and elusive monomyth.
• Nobody’s baby review by Kirsten Pike
  Babysitter: An American History by Miriam Forman-Brunell
  The book examines girls’ domestic labor in the U.S. and also offers significant insight into the contradictory ways that girls are imagined, debated, and targeted by experts, advisors, and creators of popular culture.
• Sexual innocence and film: a look at scholarship on virginity review by Susan Ericsson
  Virgin Territory: Representing Sexual Inexperience in Film, edited by Tamar Jeffers McDonald
  How can virginity be depicted in fiction film and television beyond dialogue or narrative moments when the condition of virginity ends?
• Documentary studies: news from the front line review by Russell Campbell
  Sociopolitical documentary comes under intensive scrutiny in a cluster of new books.
  • Documentary: Witness and Self-Revelation by John Ellis
  • Recording Reality, Desiring the Real by Elizabeth Cowie
  • The Documentary: Politics, Emotion, Culture by Belinda Smaill
  • Intelligence Work: The Politics of American Documentary by Jonathan Kahana
  • The Right to Play Oneself: Looking Back on Documentary Film by Thomas Waugh
• Documentary: intelligence and/or emotion? review by Chuck Kleinhans
  • The Documentary: Politics, Emotion, Culture by Belinda Smaill
  • Intelligence Work: The Politics of American Documentary by Jonathan Kahana

• Crisis politics On crises and drastic neoliberal economic makeovers by the editors