Everyday artifacts.

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Images from a walk home after a Bruce Connor screening. The twilight blue played with the electric hum of street lights. The magic hour.

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Here is my entry:

What if cinema art’s economic model shifted from its traditional show business roots to something resembling the art market and in the process helped reconstruct the economics of art–making in the digital age. That’s right, moving an art form that has always been democratic toward something elitist. Let’s face it, the great film artists—Dreyer, Bresson, Antonioni, Cassavettes, etc., were stubborn and elitist directors who at one time were the talk of the town not because they were speaking to everyone, but precisely because they were uncompromising and difficult. Show business cinema will continue to give us those big collective experiences that we all love, but without the more exploratory/experimental cinema arts, the language will become stale. Late Hitchcock needs the French New Wave.

What would a cinema art market look like? I guess Matthew Barney is one model, but an unfortunate one. Making the Cremaster cycle limited edition DVDs does not put those images into collective circulation (I’ve been able to see only 2). It would be like owners putting Picasso’s first cubist paintings into a vault. Patrons and collectors should want their artists popular, exposed and of collective value.

Another model is Mark Amerika’s recent cell phone project, Immobilite: a limited edition feature film shown at museums, a website with remixed video segments, an iphone app, a pdf publication, a blog, probably some wall art and performances thrown in. I haven’t seen the 70 min. projected “film”, but what I love about the project is that it is trying to create a model for a new type of art cinema (and a new type of writing) by offering the process of its making and distribution as part of the work. The project is kind of manifesto. You can’t get more democratic than a cell phone. But again, it would be a shame if the limited edition feature were not available for viewing outside major cities.

How to sell a cinema project to collectors and still make it available to everyone? We have to get away from thinking of a cinema work as a 70-100 minute feature. More than anything the work should open up possibilities of seeing in a multi-dimensional way. This could mean something transmedia—a DVD, a book, a database, an installation, a website, wall art, social networking. This does not mean cinema artists should (necessarily) renounce narrative. It does mean looking at narrative as an element in the web of culture and not the dominating force for making meaning. Eija-Liisa Ahtila (with the help of Finland state funding) makes affecting stories for multi-screen installations and linear versions of the same stories for the festival circuit.

What about funding cinema art? What does it cost a painter to get a studio, paints, canvas, model? These costs are figured into the price of the final work. What does it cost a small theater company to put on a show? Public funding and patronage could help digital artists, but costs for shooting are near zero. Actors must be paid however, and though much depends on the nature of the project, their fees should also be included into the price of the final work. How much would a collector pay up front for a limited edition David Lynch project? How much would a collector pay up front for a limited edition newcomer’s project? I don’t know. But wouldn’t it be a bonus for “culture” if the artists were simply paid for the work and then let it go? No need for talk show circuits, promotional events, marketing campaigns. Just the art itself circulating the networks.

By embracing an art market (not the current one necessarily), there might be innovative ways to support novel cinema forms. Galleries and museums could be extraordinary houses for the moving image. Public funding could help everyone make, teach and share cinema art. Authors and musicians could partner with cinema artists to make hybrid works not just adaptations of novels or music video commercials. By owning limited editions of the work, collectors (the 1000 fans?) could choose screenings online and off to publicize their collections. And most importantly artists could make a viable living by making work, sharing their ideas with the public and doing it in a context that celebrates experimental forms. We need novel art to get us through these enormous cultural changes, and I would argue we need novel cinema art most of all.

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