- Er endatíðin komin fram at løriftinum í biografinum, so sum vit higartil hava kent the Cinema, spyr víðagitni amerikanski filmsleikstjórin, Martin Scorsese, í einum essay í nýggjastu útgávuni av Harper’s Magazine, sum er ein lovprísan av teim 27 filmunum hjá italska Federico Fellini.
Ein vinmaður gav mær blaðið í nærum fulsetta biografinum mikukvøldið, har tey vístu Nomadland, samstundis sum danska avísin, Politiken, týddi og prentaði alla greinina. Enn er biografdeyðin ikki komin til Føroya.
Scorsese, sum sjálvur hevur svikið upprunaliga og heiðurskrýnda biografin við stroymdum filmum, sum The Irishman fyri Netflix, vil vera við, at fyrimyndarligi italski leikstjórin, Fellini, varð so stórur, at hann lukkaðist at blíva eitt lýsingarorð:
- At the center of it all, there was one director whom everyone knew, one artist whose name was synonymous with cinema and what it could do. It was a name that instantly evoked a certain style, a certain attitude toward the world. In fact, it became an adjective. Let’s say you wanted to describe the surreal atmosphere at a dinner party, or a wedding, or a funeral, or a political convention, or for that matter, the madness of the entire planet - all you had to do was say the word “Felliniesque” and people knew exactly what you meant.
Í greinini nevnir Scorsese algoritmur, og ber stroymingartænasturnar saman við nethandilin Amazon, sum hevur tikið lívið av fysisku bókahandlunum:
“…on the streaming platforms that have come to overtake the moviegoing experience, just as Amazon overtook physical stores. On the one hand, this has been good for filmmakers, myself included. On the other hand, it has created a situation in which everything is presented to the viewer on a level playing field, which sounds democratic but isn’t. If further viewing is “suggested” by algorithms based on what you’ve already seen, and the suggestions are based only on subject matter or genre, then what does that do to the art of cinema, spyr Martin Scorsese í greinini í Harper’s Magazine í hesum døgum.
Síðan heldur leikstjórin algoritmur upp móti fyribrigdinum at kuratera, júst so sum Filmsfelagið ger við nýggjum og klassiskum arthouse filmum mikukvøld í Havnar Bio:
- Curating isn’t undemocratic or “elitist,” a term that is now used so often that it’s become meaningless. It’s an act of generosity - you’re sharing what you love and what has inspired you. (The best streaming platforms, such as the Criterion Channel and MUBI and traditional outlets such as TCM, are based on curating - they’re actually curated.) Algorithms, by definition, are based on calculations that treat the viewer as a consumer and nothing else, sigur Scorsese í greinini í nýggjasta Harper's Magazine.
Nú bíða vit bara eftir, at donsku biografarnir lata upp aftur hin 6. mai. Tá fara allir filmsútleigarar aftur til arbeiðis, so filmar aftur verða tøkir.