HOW THE PANDEMIC STOLE CINEMA – Or did it? The Digitalisation of Films in a Post-Pandemic Landscape (C21063987)

Source: An Empty Cinema by Tima Miroshnichenko on Pexels

Please take your seats and turn OFF your phones; the movie is about to begin. COVID-19 certainly changed the world as we know it: people were told to stay indoors, workplaces and non-essential establishments had to shut, and so the world stood still. Fast forwards to May 2021, after 3 national lockdowns, indoor venues were allowed to re-open, with the hopes to return to ‘normality’, however, one key cultural industry was left struggling to recover from the aftermath of the pandemic: cinemas. With subscribers of streaming platforms having drastically increased over the pandemic, not only has the demand for cinemas now been put into question, but also the need for film culture preservation.

This blog will highlight the long-lasting effects on the struggling industry, by discussing how the digitalisation of content for consumption on streaming platforms altered audience watching habits.

Source: Woman Applying Hand Sanitizer by Anna Shvets on Pexels

Screening or Streaming?

Over the pandemic, cinemas experienced great financial difficulties, as a result of having to close down their indoor venues to the public. One of the UK’s most successful chains, Cineworld, experienced a revenue loss of “more than 80% from $4.3bn pre-pandemic to $852m last year [(2020)]” stated the Guardian (2021). In early 2020, new releases like the 007 movie, No Time To Die (2021), was initially pushed back seven months, to discourage people from visiting the cinema and reduce the risk of spreading the virus. 

On the other hand, popular subscription services, The Guardian (2021) comments, “such as Netflix, Disney+ and Amazon Prime Video soared by 50% to 31m as locked-down Britons turned to the small screen”, due to more people required to stay indoors. Data from Business of Apps (2024) demonstrates how Netflix saw a 9.43% increase in subscribers between the fourth quarter of 2019 (167.09m) and the first quarter of 2020 (182.86m). The latest statistic from Netflix shows that in their fourth quarter of 2023, the number of subscribers reached 260.2m, thus highlighting the prevalence of streaming services, even after pandemic ended. 

Source: Person Holding a Remote Control by freestocks.org on Pexels

Times are Changing:

One must ask: what effect does this have on the film industry? Through film digitalisation, as suggested by Benyon et al. (2015), can be used to “[increase] numbers of audiences consume the arts through digital channels and devices… it also has significant impact on current practices for the production, distribution, and the creation of meaning for audiences”. In May 2021, new releases, like Cruella (2021), were made available in both theatres and on streaming-service giant, Disney+, though with an charge additional to the customers’ monthly subscriptions, to booster the income of re-opened cinemas, whilst also appealing to potential customers who still did not feel comfortable with being in crowded spaces. 

This emerging habit, however, explains how the digital consumption of films altered the modes of viewing, over the course of the pandemic, where people feel less inclined to visit a physical venue and now prefer home movie streaming. Research by Zhao (2024) demonstrates that 56% of participants surveyed have a reduced motivation to visit a movie theatre, since the emergence of COVID, and with more people being inclined to set-up a ‘home-cinema’ system – such as paying for streaming services – to get more from their money’s worth. Arguably, cinemas can be seen as a dying cultural economy, as well as the film industry, where less money is being put towards the distribution stage of movie releases in cinemas, and more towards the consumption stage on online streaming platforms.

Source: People Sitting Inside the Cinema by Tima Mirochnichenko on Pexels

The Future of Cinemas:

With its existence under threat during the pandemic, cinemas are now coming up with new, creative ways and making improvements to their business models to secure their position as global institutes of culture. Such is the case with the ‘Barbenheimer’ phenomenon that was quoted to have “saved the summer box office” by The Guardian (2023), with its unique marketing strategy by releasing both films on the same day, and encouraging audiences to see both at cinemas for a special summer double-feature. Moreover, since the outbreak, cinemas across the UK, began offering the unique opportunity to experience ‘event cinema’, which includes the screening showings of theatre productions and concerts at a reduced price, including Taylor Swift’s Eras Tour Concert.

All of this is done in an effort to re-establish the need for cinemas as a hub for socialising and culture, where the means of consumption are “not replicable in alternative distribution channels”, as suggested by Weinberg et al. (2020). Though the film industry is constantly evolving, through the digitalisation of content for consumption on streaming platforms, cinema is not a dying art form – it is a transcultural phenomenon, which offers us an escape and one which must be preserved at all costs. 

Please share your thoughts on how much you value the relevance of cinemas and why we should strive to protect this cultural industry down below.

All images and media are used under fair usage for educational purposes.

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Them: Is Amazons New Limited Horror Series Worth The Watch?

Picture from Amazon Prime Studios

From creator Little Marvin and executive producer Lena Waithe, Them is a 10 part anthology series, directed by Nelson Cragg, which depicts the terror of 1950s America.

The story follows the Emory family as they move from North Carolina to an all white Los Angeles neighbourhood, in a period that is known as the Great Migration. Their idyllic, white picket fence-esque home, becomes the scene of terror in which the neighbours, evil forces and otherworldly beings threaten to taunt and destroy the family.

Picture from Amazon Prime Studios

I will try not to give any spoilers away here but, the plot more specifically follows each of the four family members as they face the spectre and torment of living in all white East Compton in the 1950s, but also the terror they face inside their home and the unworldly beings that reside there. Cinematographer of the series, Xavier Grobet ASC describes the show as

“[having] these two realities: one is the family moving to Compton and dealing with the white neighborhood, and the other is the inner world each character is going through. They all have their own ghosts and visions they each have to deal with,” 

The show premiered on Amazon Prime Video on April 9 2021, and was met with mixed reviews by both TV critics and viewers.

Some critics have said that it conformed to horror cliches too much and heavily relied on the historical horrors that African Americans faced during the 1950s. With a review on Variety saying…

““Them” centers on racism in a manner whose reliance on overstatement winds up feeling surprisingly unimaginative.”

Other critics have said that Them is a bad attempt at copying the cinematic creativity of Jordan Peele, the man behind the blockbuster films Get Out and Us.

Picture by Stephan Browne-Blackman

Any new series is bound to have some negative reviews (especially with the topic of this series being particularly delicate and open to criticism) and i must say I do agree that it relies too heavily on the horror narrative, but overall I do think that this series is the worth the watch if not for the acting and cinematography alone.

The lead actors Deborah Ayorinde and Ashley Thomas, who play the roles of Mr and Mrs Emory, give exceptional performances. In many ways Them is centered around Ayrorinde’s character Lucky’s pain and trauma, in which she portrays this with emotional persuasion whilst remaining disciplined at the same time.

Another notable performance comes from Melody Hurd, who portrays the younger daughter, Gracie Emory. The conviction that this little girl performs with is outstanding and the maturity level of her acting is that of someone much older.

Picture from Amazon Prime Studios

Alison Pill plays the character Betty Wendell, the Emory’s over the road neighbour, and does so very well, Pills character is instantly unlikeable and for me I immediately saw her as intensely creepy whenever she was on screen. These actors really make the show what it is and is exactly what makes Them a worthwhile show to watch.

Picture from Amazon Prime Studios

What about the cultural economy of Them?

Cultural economy, as described by Leriche and Daviet, is the capital and economic benefits that comes from the products of the cultural industries, which include television and shows such as Them.

Although there is no recent data on Amazons budget, its original content budget for 2019 was roughly $6 billion, so we can assume that a considerable amount of money was spent to produce Them. This budget alone suggests that an abundance of jobs would have been created in various sectors including costume design, marketing, set design etc. all contributing to the creative and cultural economy.

So, should you give Them a watch? I think most definitely but why don’t you see for yourself…

Premiering in a living room near you? Covid-19’s prolific effect on the Film industry. (C1817004)

Featured image: Felix Mooneeram via Unsplash

Surely not? Would this have been the response if a film presented the devastation of Covid-19? Yet since early 2020, this global pandemic has rocked every aspect of the film industry. This thriving sector of the creative industry saw production cancelled or halted. Social distancing, borders restrictions and cinema closures reshaped distribution methods. So, can we look at this as a turning point that will propel the ever-ingenious creatives to bigger and better opportunities?

Bectu (Broadcasting, Entertainment, Communications and Theatre Union) survey of 5,600 freelancers revealed 71% predicted financial struggles stemming from Covid-19 constraints. Blair Barnette, speaking to The Guardian, represented many who face being overwhelmed by debt. Blair lost £28,000 instantly and feared having to pursue another profession. The pandemic has hit the industry’s core, destabilising the people whose talents had previously engrossed, enlightened and entertained millions.

Box Office success will require public confidence and exciting productions. The anticipated James Bond: No Time to Die suffered major setbacks. Will the pre-Covid-19 momentum for the franchise remain? Have the many re-runs on television saturated fans or added a new fanbase so heightening interest?

Video: No Time to Die Trailer – In Cinemas October 2021, via YouTube

There is certainly support for Britain’s culture, arts and heritage organisations. The UK Government’s unprecedented £1.57 billion Culture Recovery fund includes independent cinemas. Odeon’s managing director hopes to rekindle “the magic that the cinema brings.” Odeon will screen Oscar Winning Films such as Sound of Metal, which has been offered to Amazon Prime members, alongside new releases. Nevertheless, with monthly streaming services typically costing less than one cinema ticket, only time will tell if audiences will vote with their feet by returning to cinemas.

Undoubtedly film has remained popular. Burroughs discusses the “shifting cultural terrain” with the surge in popularity of digital streaming platforms. Research on the Culture and Creative sectors in post-Covid-19 noted the pandemic accelerated a sort of “Netflixisation.” Netflix’s revenue increased to $5.76billion skyrocketing 27% compared to the same period in 2019, with its subscription sign-up doubling.

Image: Souvik Banerjee via Unsplash

Tryon notes catering to an “on-demand culture,” distribution may continue to skip theatrical releases with consumers viewing their favourites at home. Disney+ favoured this approach with Pixar’s Soul and its Mulan adaption. Ralph Finneas, suggested executives are “probably considering” premiering the new Bond film digitally. The future of film must now incorporate streaming services, many commissioning or owning material. 

So, will streaming exacerbate a divide in access to cultural industries? Hopefully the increased growth of free content available on digital platforms will continue. Amazon Prime Video offered some free content to enhance family life in lockdown. Such responses may reap rewards among future generations already switched-on to digital.

Covid-19 has seen a rise in creativity, with users utilising monitezable platforms including YouTube, showcasing their talents. Virtual production technologies have proved vital, beneficially connecting film-makers and actors. The Future of Film Report 2021 contains a vision that is “inclusive, sustainable and rewards innovation and creativity.” A post-production technique where dialogue can be dubbed over live action footage known as “automatic dialogue replacement” eliminates geographic barriers and encourages collaboration.

Video: Numb – a short film – liv mcneil via YouTube

To use an analogy, the bright lights of the film industry seem only to have shifted in colour, but are still shining. This creative industry deserves its esteem having emerged from Covid-19.

Images are licensed free to use via Unsplash