Fahad Suleiman Shoqiran
The revolution brought about by the Netflix app has had an adverse impact on the film and series industry in the world. A television broadcasting company has in fact sacked half of its employees in one of its offices because of the falling revenues.
The smart phone fetish
The popular easy-to-use application has hit the entertainment channels on television hard. In fact, Netflix has been able to turn the young and the old into its addicts. Netflix has been producing and distributing movies and television series since 1997. Its CEO Reed Hastings has been able to keep up with technological challenges right from the time of classical times up to the times of the CD-ROMs. This media services provider seems to have finally made it big by creating an extremely successful global application that is currently used by more than 100 million people worldwide.
Cinema grows like people, and the industry has been evolving for over a century now. The medium of cinema has an aesthetic appeal and a mesmerizing allure and it has its theoretical and technological revolutions as detailed in the book Aesthetics of Film by academic Jacques Aumont.
According to Aumont, cinema has an aesthetic approach. It involves a perception of beauty, and therefore it appeals to the viewer. He notes that cinema offers two aspects: a general aspect that thinks about the aesthetic effect that specializes in cinema and a qualitative aspect that focuses on the analysis of certain works, adding that it is the analysis of films or criticism in the full sense of the word as used in visual arts and the science of music.
Netflix’s success cannot be measured only in financial terms with its revenues crossing $8 billion. It has also struck a chord with the consumer at the psychological level.
Fahad Suleiman Shoqiran
The technical development of cinema cannot be separated from economic trends or human and scientific transformations. In his book ‘The Stars’, the philosopher Edgar Morin describes cinema as the “bread” of dreams, as it’s like bread since it aesthetically nurtures. He avers that while the price of bread may rise only slightly more than its cost of production, “all products endowed with magic or having mystical value are sold at prices far in excess of their production costs: medicines, makeup, dentifrices, ornaments, fetishes, objects d’art, and stars too. The star is as rare as gold and as common as bread. Born in 1910 from the competition for control of the film market, she (the star) has understandably created the development of the capitalist industry of the cinema as much as this industry has created her”.
The cinematic dream-space
The most renowned philosopher in the cinematic universe is Gilles Deleuze, also called the brains behind the theory “cinema, the movement of image”, passed away one year before the foundation of Netflix in 1996. He investigated time and motion in the pictures and wrote about cinema and its evolution in an exquisite philosophical way that no one could before him.
Those intimidated by Deleuze’s difficult ideas can take recourse to the more lucid explanation of his views in the book written by Philippe Mengue, which is dedicated to the cinema of motion and time.
In spite of all the transformations of cinema and its industry, it has a common foundation, which Deleuze discussed in the first part of his book. He said: “a film is never made up of a single kind of image: thus we call the combination of the three varieties, montage. Montage (in one of its aspects) is the assemblage [agencement] of movement-images, hence the inter-assemblage of perception-images, affection-images and action-images. Nevertheless a film, at least in its most simple characteristics, always has one type of image which is dominant. One can speak of an active, perceptive or affective montage, depending on the predominant type. It has often been said that Griffith invented montage precisely by creating the montage of action. But Dreyer invents a montage and even a framing of affection, with other laws, in so far as The Passion of Joan of Arc is the case of an almost exclusively affective film.” Deleuze’s starting point in cinema is the image, its movement, its timing as a pillar of his cinematic analysis proposing that the flash of its image is an expression of the space in differences. No wonder he is the founder of philosophical differences in the latter half of the twentieth century.
Netflix’s success cannot be measured only in financial terms with its revenues crossing $8 billion. It has also struck a chord with the consumer at the psychological level. This has nothing to do with Skip Dine Young’s book “Psychology at the movies”, but rather with a psychological relation with the consumer in terms of speed, convenience and distinctive service. I am aware that there is more than one application for movies, even the most famous television company has tried to catch up with Netflix, but it did not work. Of course, this is not the end. The technological effervescence is at its peak and the company has succeeded through its application in satisfying the consumer and standing out among dozens of other applications.
This is cinema. it’s a world full of passion and magic, just like the description of Edgar Morin when he describes life in a movie as “spectacular, or rather a festive life, persuading, expansive, full of images, chatters and news, like flowers, a life that reaches the highest level of its historic prosperity in festivals.”