Кинематографическая конференция

The first problem in contemporary cinema is monotony. The number of new ideas in films is shrinking - the film industry market is actively abusing the production of endless remakes (remakes of films with a new vision), sequels (sequels) and prequels (prequels). Simply put, we see the same thing on blue screens all the time. Examples here are the eight-part Fast and Furious film series and the reboot of the classic Ghostbusters, in which mass audiences did not enjoy the gender-changing gag of the protagonists.

This is due, on the one hand, to the fact that it is becoming increasingly difficult to come up with something new and original, something that has not yet been made, in a highly competitive environment where films are being released by the hundreds. Almost invariably, the viewer, when watching the next film, catches himself thinking, "I've seen something like this before. It's much easier to lure people into cinemas with a film that's already been a success. Each successive film is usually of inferior quality, and viewer interest tends to wane - but many will watch it out of curiosity: they wonder what happened next. Most modern films, on the other hand, are made purely for the sake of commerce and publicity. For example, Transformers was created as an advertisement for Hasbro's toy series.

Another problem is the pointlessness of the plots. Films that make you think are becoming rarer and rarer. Popular are "spectacular" pictures - a spaceship flying over the sixteenth planet fifty light years from Earth, wizards throwing fireballs at an unknown monster in the middle of a grey street, and the background is bound to be an explosion.

With the development of the Internet and piracy has developed, it became quite possible to get access to new movies without paying to watch and not even leaving home. Cinemas are always full of action films with a lot of special effects. The brighter the special effects, the better they are made, the more popular the film will be. People are more likely to go to a movie with a weak plot, but a vivid and entertaining movie than to a movie whose action is set in a couple of rooms and consists of quality dialogues with quotations from Aristotle. Audiences' demands are always growing, with audiences demanding more and more special effects every year (you can't impress anyone with a glowing Jedi sword these days), which in turn adds millions of dollars to the film budget.

There is also the problem of misrepresentation. This applies to historical films with a screen saver "based on true events", in which the action takes place very differently than in reality, as well as scientific. Why does shooting with a silenced gun turn into a silent ninja fight, or is it enough to get in the car and step on the gas to defy the laws of gravity? A mass audience is given a false impression.

Nor is the lack of new faces on the big screen pleasing. Often, by seeing certain actors in a multi-part film, audiences get so used to the characters that they see these actors in the same guise in other films. As a result, the audience cannot completely distract and immerse themselves in the world depicted on the screen. Directors prefer popular actors to newcomers because it is a kind of advertisement for the film - by reading the list of actors, the viewer forms an opinion about the film even before the premiere. If the storyline is not the strong point of the picture, at least a good acting performance will please. Each actor has his own creative style which is recognizable in any role - if an actor appears on screen in literally every film, it gets boring, so viewers want to see new talent.

Despite the apparent crisis in contemporary cinema, each viewer can find a film to his or her liking, and film companies, knowing this, are trying to compete for the target audience by maintaining a high level of competition in the film industry. In a short period of time, several films with similar ideas can come out at once, which encourages directors to bring something new and unique to their creations. Whether such fierce competition will help to lift the art of cinema out of its crisis is a big question that we will only be able to answer years from now.