World Cinema OD – Workshop 2 – 26th June 2013
How do online archives affect the way film material is organized, categorized, and indexed (it is now much easier to search films by language, for example)?
How are traditional ideas about genre/authorship/national cinema affected?
How are films “promoted” to researchers and scholars?
Who controls and maintains these archives? How secure is their future availability?
How could material from these archives be embedded more closely within HE activities?
How are issues of ‘ownership’ affected by different modes of access and availability? (e.g. copyright/licensing/intellectual property)
What is the role of ‘informal’ platforms of distribution in determining the direction of research and teaching (given that many films are only available via these platforms)?
How does online distribution change the way we engage with cinema (there is a different sense of “flow”; you can start a film on a device and finish it on another. You can see multiple films sequentially, without interruption, etc.) and visual experience (the “window”, the different interface according to the different provider)?
Are ‘marginal’ or ‘niche’ cinemas becoming more ‘visible’ through online distribution (thanks to reduced financial risk of these modes of distribution etc)?
How do online services use ‘world cinemas’ to extend their product, and how does the promotion of these cinemas tie-in to their overall marketing strategies?
Is online distribution likely to be the only future for world cinema and niche material?
Could online models of distribution be more cost effective than traditional media for HEIs? If so, how could such models be incorporated into teaching and research? Will the fair use policy be the same as DVD?
Who will be the non-academic beneficiaries should online platforms be incorporated into HE activities, and how are they likely to benefit