#film industry analysis

[kesarijournal]

The Great Indian Box Office Riddle: Muscle Mayhem vs. Martyrs' Valor

In the ever-bewildering world of the Indian box office, a new enigma emerges. The war hero epic “Sam Bahadur” stands with quiet dignity, yet it’s the rip-roaring “Animal” that gallops ahead, leaving a shimmering trail of muscled bravado and shattered records. What’s behind this phenomenon? Is it just our hunger for escape, or something more profound at play?**The Seduction of Escapism:**Life’s…

[absolutebl]

Genuine Question: Given how much people hate problematic topics in BL eg: kp, mame, love syndrome, etc. why is everyone so damn excited about Only Friends? Like we know nothing about the show. It's GMMTV so how sexy is it going to get? you know, like it's GMMTV. I like the cast as much as anyone and particularly FirstKhao but I don't see this 'sexiness' everyone is going so crazy over? Is it some bts thing like I know the director is jojo and he's gay. Is that why everyone so excited? Is it because we just haven't gotten anything really brilliant this year that gets the whole BL fandom together and that's why people are hoping this will, is that what's going on? I like everyone involved well enough but 'sexy', 'crazy', 'problematic', 'high heat'... I don't get it.

Only Friends & Jojo

Genuine answer.

Okay so this question got me invested enough to get off the phone, over to the laptop, and onto hotel wifi, which means typos rather than dictation homophones, but there it is.

I guess what I am saying it...

mistakes will be made

From the tenor of your question methinks you have not watched Friend Zone? It's a 2 part series. Mostly messy hets but...

Also a TON of broad spectrum queer rep (lesbian, bi, ace, demi). Real queers, not sanitized for straight consumption.

Because yeah, GMMTV will get messy and go into higher heat levels in a late night way (not in a KP way).

But actually what has most people excited about Only Friends is it being sourced in this man:

Jojo Tichakorn Phukhaotong

Jojo is a screenwriter (originals) and director, openly gay, multifaceted and a little experimental, naturally talented (on the job trained - he's an archaeologist originally), and he is behind:

The Warp Effect, Friend Zone and MOST importantly (IMHO)...

3 Will Be Free

There are others too, but for the purposes of this post, those are the 3 that count. I think of him a little as the GMMTV director version of Ohm's acting.

Jojo specializes in:

ensemble pieces,

good chemistry (NOT necessarily high heat, so by this I mean actor chemistry with each other all around - couples, cast, team, production)

working with and finding actors within GMMTV's stable who work well together (even if that means busting up a pair),

a queer lens,

queer rep,

and often very messy story (as in he is not invested in the traditional beats of a romance, let alone a BL).

AND he can shoot action (this is a specific skill set for directors and it's NOT easy),

thus he will shoot his sex/intimacy & COMEDY scenes as if they WERE action sequences.

This makes his stuff particularly exciting to watch. It's dynamic, there's a lot of movement, the eye is caught and dragged places. He doesn't use dirty/peekaboo framing or central aperture or manga style (not with INTENT the way trained directors do). In fact he does none of those things I harp on about because I like the romance stuff.

He's not being clever with us. He's being honest, but still applying skill. His stuff not quite raw, but also not really directed. You can tell he gives his actors a script, throws them together and then instructs them to just BE THOSE CHARACTERS. He has a light touch, he trusts them. He's not fussy or nit-picky. He's not doing a million takes to get that sene exactly how he envisions it. His ensemble pieces are just that, group projects.

His eye is wide, even for intimacy, by which I mean: he controls and watches for multiple actors at once when there are a lot of them on screen together, without them feeling stiff.

His style is quite organic but not too gritty.

Struggling to understand what I mean?

For example, watch a Jojo "group of friends chatting" scene where everyone is just standing around then watch the same thing in, say, SCOY. You'll see what I mean. SCOY is also a very queer ensemble piece, but it will feel quite stiff, unnatural, and "planned" (staged) by comparison.

For the giffers out there you might notice that Jojo's stuff is particularly difficult to gif cleanly? This is why.

I find him an exciting director. I didn't cover him in my directors overview because at the time he hadn't done much BL (and frankly, he still hasn't). It's not his focus.

I think Only Friends is actually not likely to be very BL. Queer = yes, BL = NO. He won't hit the tropes and there is no reason to assume it will end happily for all couples (if any). That's not Jojo's point of view.

He doesn't play our game. As a result, some of those excited by the idea of this show (or excited the general enthusiasm & anticipation around it), may be doomed to disappointment.

It's one of the reasons you don't see me getting excited about it.

I'm a fan of specifically the fluffy side of BL, this will NOT be that. And I can appreciate a director without necessarily liking the stories he tells.

I am industry enough to acknowledge Jojo's skill (and I LOVE 3 Will Be Free - just not as a BL), but I don't always like his narratives. No matter how good he is, his stuff is not why I personally watch Thai BL.

It's GMMTV, so how sexy is it going to get?

Again, see Friend Zone. GMMTV has a late night pantheon, mostly for het, but they will get salacious. Lots of cheating and terrible decisions. There will be no archetypes. Characters will exist in grey areas, even the "good" characters. There will be no paladins in this show. No seme/uke.

To answer this frankly?

Only Friends will get soap opera or telenovella sexy but no more. So we will be in Midnight Chicken territory, not Bed Friends.

I think the words being bandied about:

'sexy', 'crazy', 'problematic', 'high heat'

are used here on tumblr (and in fandom) as an attempt to articulate expectations set up by Jojo's style.

Most viewers only react emotionally to the tenor of a director with this set of skills. That's fine, that's what the production company wants: A visceral emotional reaction.

But I hope I've managed to clarify from a film-critic perspective what's bringing this sensation about?

But ALSO seeing a bunch of, essentially, lower heat pure BL pairs, have to push themselves into messy queer spaces? (Notice GMMTV only let the more established actors into this one? No JoongDunk, no GeminiFourth)

This is probably really what everyone is excited about.

They are gonna see their favorites cheat, sleep around, be gay (not BL gay, but actual gay). Some are legitimately excited about this, some are shipper excited, and the BL-stans who don't know Jojo are doomed to disappointment.

I'm mostly excited by how messy this is gonna make the fandom.

Su su na.

(source)

[lesbiancolumbo]

What was one aspect about The Substance that you think really worked, and one thing you felt didn't land well for you? Ranging from acting, writing, directing, editing, story choices, music, etc. Most of the critiques of the film seem to be bad-faith/uninformed, and I always respect your film takes and it seems you truly enjoyed the movie so it'd be interesting to hear your analysis. :)

oooh, a fun question! i do love the substance but i also know it is not free from criticism... the best part for me, my favorite part, the thing that is so well-done and so incredible that it kinda eclipses the issues i do have with the film, is that the level of commitment that demi moore brings to her performance is like. i saw this film a while ago, and i still think about what she does in it on a daily basis. she is incredible. this is an all-timer of a performance for her and i'm beyond thrilled that she's getting this moment to be lauded and be taken seriously. i love her and have always loved her and i will be hard pressed to find a better performance from this year in my mind.

the issues i have with the film... i think there's moments where coralie doesn't 100% trust her audience to get the connections she's drawing - for example, the scene where she pieces together just who the old man approaching and speaking to her about the substance is. we see the connections multiple times... like, i got it! don't worry babe. NOW THAT BEING SAID. considering many dense motherfucking idiots couldn't even piece together that elisabeth and sue are ONE ENTITY AND NOT TWO COMPLETELY SEPARATE PEOPLE......... i understand why she made it extremely crystal fucking clear what was going on in her movie to the point of beating us over the head with it! and also i'll forgive way more from women filmmakers. if it's bad no it's not. it's perfect to me. and i'll fight anyone who says otherwise.

[theomenmedia]

Venom The Last Dance Rakes In $175 Million On Its Opening Weekend

"Venom: The Last Dance" sways to a $175M global tune in its opening weekend, with the world dancing more than the USA. Is this the end or a new beginning

Read the full article here: https://www.theomenmedia.com/post/venom-the-last-dance-bites-into-the-box-office-pie-with-175m-worldwide-but-domestic-numbers-fall

[for-the-writing-artist]

Look, I might concede the point that all humans like to see a reflection of their humanity in their non-human counterparts, and that it makes for an interesting storytelling device.

But I'd argue that, in such a saturated environment, you begin to lose reference of what these dynamics were based upon.

I'd further argue that it is a harmful device in the long run.

See, we have dogs as children, robots as friends (or even more humane than humans) and people as ─ at least in the most extreme ─ gross caricatures of themselves.

I don't think it's clever. I think in the worst of films, it is used as a sorry patchwork to hide the writer/director's lack of skills.

You find it easier to attribute human actions to something that isn't even human?

How does that work? How do you decline so far?

I don't even have beef with this. If you have a courier robot that says Made in Britain, and you work some British humour into him, I'd probably be the first to laugh.

I don't think it's funny, or innovative, or smart to use that trope in a soulless fashion to make a propaganda exegesis BS of a plot because of ideological reasons.

Animals are not human.

Machinery, no matter how cute you make them, are not human.

What even is humanity, for you, that makes it impossible for you to write them as a person with moral failings, and goals and views, like everyone else?

If the antagonist of your creation is the antithesis of all that is good, and moral in your world, with no organically human reason for being ─ he's just a sock puppet, or straw man created to justify the Hero's Journey.

And that doesn't make them human, either.

[i-mostly-reblog-things]

Finally someone willing to call out the double standard that people give Killers of the Flower Moon

[audipiu]

there was a good twitter thread on AI art and inspiration that made some points on how, despite AI (and machine learning) not really working on a copy-paste collage method, still cannot replicate the way human inspiration works. the gist of it was that ideas and influence for humans take time to develop and often can't even be traced to x or y, their sources more varied than just other paintings (as opposed to art ai)

there's ample good points as to why AI art falls far short of what actual artists can do, but it's like there's an understated worry that despite all that lack of soul, for a better word, the audience used to consuming cookie-cutter media simply won't notice.

[watchnrant]

Critics and Fans: The Growing Divide in Movie Opinions

The once harmonious relationship between critics and audiences is now marked by a widening divide. As platforms like Rotten Tomatoes reveal increasing contrasts between critic and audience scores, it’s evident that perceptions of what makes a great film are shifting.

Explore the reasons behind this growing gap and how it’s shaping the future of cinema.

Setting the Stage: The Changing Dynamics of Film Opinions

In the golden age of cinema, critics and audiences often walked hand-in-hand, sharing a common understanding of what made a film exceptional. Whether it was a compelling story, captivating performances, or groundbreaking effects, the consensus was usually clear. However, this harmony has become rare in today’s diverse and rapidly changing film landscape. Platforms like Rotten Tomatoes now frequently show a stark contrast between critic and audience scores, highlighting a growing divide that reflects more profound shifts in how films are perceived and valued.

This growing divergence prompts us to examine the evolving relationship between critics and audiences and what it means for the future of cinema. Are critics still the arbiters of quality, or have they drifted into a realm that no longer resonates with the average moviegoer? Conversely, have audiences become more discerning or simply more divided? As we explore these questions, we’ll uncover the factors driving this split and what it suggests about the changing dynamics of film appreciation.

The Evolving Role of Film Critics

Historically, film critics served as the gatekeepers of cinematic quality, offering in-depth analysis that informed public opinion and guided moviegoers’ choices. Their reviews were revered as authoritative voices, often influencing the success or failure of a film. Critics looked for narrative coherence, character depth, and technical mastery, holding films to high artistic standards that shaped the industry for decades.

However, with the rise of streaming platforms, the proliferation of independent films, and the shifting expectations of modern audiences, the landscape of film criticism has changed dramatically. Critics now tend to favor films that challenge societal norms, offer profound social or cultural commentary, or push the boundaries of traditional storytelling. This evolution in critical taste is often at odds with the preferences of general audiences, who may prioritize familiarity, nostalgia, or straightforward entertainment.

A clear example of this shift can be seen in the critical reception of The Last Jedi (2017). Critics lauded the film for its bold narrative choices and willingness to subvert audience expectations, hailing it as a fresh and innovative take on the beloved Star Wars saga. However, many fans were disappointed by these elements, feeling that the film strayed too far from the core elements that initially captivated them. This divergence underscores a broader trend: while critics increasingly value artistic innovation and thematic depth, audiences may not always share these priorities, leading to a growing rift in how films are evaluated.

Divergence in Film Reception

The growing gap between critics and audiences is a matter of differing tastes and a reflection of more profound cultural and generational shifts. Critics, with their focus on innovation and cultural commentary, often champion films that break away from conventional storytelling, while audiences may gravitate towards films that provide comfort, nostalgia, or escapism.

The release of Barbie (2023), directed by Greta Gerwig, perfectly illustrates this divergence. Critics praised the film for its sharp social commentary and creative approach to reimagining a well-known brand, seeing it as a significant cultural artifact. For many critics, Barbie represented a bold critique of consumer culture and gender norms wrapped in a visually stunning and intellectually engaging package.

However, the audience’s reception was more divided. While some viewers appreciated the film’s satirical tone and underlying messages, others found its approach polarizing, preferring a more straightforward, entertaining experience. This gap in reception highlights a vital issue. While critics are drawn to films that challenge societal norms and provoke thought, many audience members seek films that entertain without demanding too much introspection or ideological engagement. The result is a widening divide in film reception, where the qualities that make a film critically acclaimed may not resonate with the broader moviegoing public.

The Influence of Fandom and Social Media

In today’s media landscape, fandoms have emerged as powerful forces influencing a film’s success regardless of critical reception. These dedicated groups of fans often form emotional connections with specific franchises, characters, or directors, leading them to passionately support films that align with their expectations passionately, even when critics do not. Social media has only amplified this phenomenon, providing fans platforms to express their views, rally support, and challenge or even drown out critical perspectives.

A prime example of this dynamic is the reception of Batman v Superman: Dawn of Justice (2016). Critics largely panned the film, citing its dark tone, convoluted plot, and pacing issues. However, fans of the DC Universe rallied around the film, boosting its audience score and defending it vigorously across social media platforms. This fan-driven support continued with the release of Zack Snyder’s Justice League (2021), a film championed by fans long before its release. Despite receiving mixed positive reviews from critics, the film was met with widespread acclaim from its dedicated fanbase, illustrating the significant impact fandoms can have on a film’s narrative and success.

Moreover, social media has contributed to the polarization of opinions by creating echo chambers where users are primarily exposed to content that reinforces their existing views. In these digital spaces, films are often judged not solely on their cinematic merits but on how well they cater to the desires and expectations of these online communities. This has further widened the gap between critics and specific audience segments, as films are increasingly assessed based on tribal affiliations or ideological alignments rather than artistic quality.

Democratization of Film Criticism

As the influence of audience opinions grows, traditional film criticism is transforming. The rise of social media and user-generated content platforms has democratized film criticism, allowing everyday viewers to share their perspectives alongside those of professional critics. Platforms like Letterboxd have become spaces where film lovers from all walks of life can offer their takes, creating a richer, more diverse discourse around cinema.

This shift has led to a more inclusive conversation about films, where both professional critiques and personal interpretations coexist and influence public perception. Critics are increasingly engaging with audiences on social media, offering more accessible, personal reviews that resonate with a broader demographic. This engagement helps bridge the gap between critics and audiences, allowing for a dialogue more reflective of diverse tastes and preferences.

The recent release of Oppenheimer (2023) is a clear example of this evolving landscape. The film was directed by Christopher Nolan and received widespread critical acclaim for its direction, historical depth, and complex narrative structure. However, audience reviews on platforms like Letterboxd varied widely. While many viewers admired the film’s ambition and intellectual rigor, others criticized its pacing and found it overly dense. This range of responses illustrates the increasingly varied nature of film criticism, where both professional and amateur voices contribute to the overall discourse, reflecting the diversity of viewer experiences.

The Future of Film Criticism

As critics adapt to this changing landscape, questions arise about the future of film criticism. One concern is that the depth and rigor that traditionally characterized film critique could be diluted to cater to broader tastes. As critics seek to engage with a wider audience, there is a risk that film criticism could become more about aligning with popular sentiment than offering an independent, analytical perspective.

This potential shift in criticism poses challenges for maintaining the balance between offering insightful, in-depth analysis and appealing to the general public. While the democratization of criticism has its benefits—such as fostering a more inclusive and varied conversation—it also brings the challenge of ensuring that critical voices remain a source of thoughtful, nuanced critique rather than mere reflections of popular opinion.

However, the future of film criticism is not necessarily bleak. This evolving landscape presents opportunities for critics to innovate and find new ways to connect with audiences without sacrificing the integrity of their analysis. By embracing platforms that allow for more direct engagement with viewers and incorporating a more comprehensive range of perspectives, critics can continue to play a vital role in shaping the conversation around cinema, ensuring that film criticism remains relevant and respected in the years to come.

The Business of Cinema: Box Office vs. Art

The growing divide between critics and audiences has significant implications for the film industry, particularly when it comes to the business of cinema. As studios become more attuned to the differences in critical and audience reception, they may be increasingly inclined to produce films that cater primarily to broad audience tastes rather than pursuing artistic innovation. This focus on commercial success can often lead to a preference for formula-driven movies prioritizing box office returns over creative risk-taking.

This trend is evident in the success of films like Jurassic World Dominion (2022) and Transformers: Rise of the Beasts (2023). Despite receiving low scores from critics, who criticized these films for lacking originality and reliance on nostalgia, both movies performed well at the box office, attracting large audiences who enjoyed the spectacle and familiarity. These examples highlight a growing trend where studios opt for safe, proven formulas more likely to guarantee financial success, even if they fail to win over critics.

While this approach may yield immediate commercial benefits, it also risks creating a more homogenized film landscape. In prioritizing films designed to appeal to the broadest possible audience, studios may inadvertently sideline more unique or challenging projects that could contribute to cinema’s artistic evolution. The danger lies in an industry that becomes overly focused on profit, potentially stifling the creativity and diversity that have historically been central to the art of filmmaking.

The Richness of Diverse Tastes

Despite the challenges posed by the critic-audience divide, this diversity in taste also enriches the cinematic landscape. The existence of differing perspectives ensures that a wide range of films continues to be made, catering to those who seek innovative, thought-provoking cinema and those who prefer familiar, entertaining escapism. This variety allows filmmakers to explore a broad spectrum of storytelling styles, genres, and themes, ensuring that cinema remains a vibrant and dynamic art form.

The differences in how critics and audiences perceive films can be a source of strength for the industry. Films that resonate with different population segments contribute to a richer, more diverse cultural conversation. For example, while a critically acclaimed indie film might not draw huge crowds, it can still profoundly impact the audience it reaches, influencing future filmmakers and contributing to the ongoing evolution of the medium.

Moreover, the ongoing dialogue between critics and audiences can inspire filmmakers to create works that challenge conventions while considering the desires and expectations of a broader viewership. The most successful films often find a way to bridge the gap between artistic ambition and audience appeal, offering something that both challenges and entertains. This balance is critical to sustaining the vitality of cinema as both an art form and a commercial enterprise.

Bridging the Divide: A Path Forward

The growing divide between critics and audiences poses a challenge. Still, it also presents an opportunity for filmmakers to innovate and explore new ways of storytelling that resonate across the spectrum. The key to bridging this divide lies in creating films that speak to both the intellect and the emotions, offering something that appeals to critics’ desire for depth and audiences’ craving for entertainment.

One potential path forward is for filmmakers to focus on creating universally relatable and thematically rich stories. Films exploring universal themes—such as love, loss, identity, and resilience—can resonate with many viewers while providing the depth and nuance that critics appreciate. By grounding their work in human experiences that everyone can relate to, filmmakers can create stories that transcend cultural and generational divides, appealing to critics and general audiences alike.

Collaboration between critics, filmmakers, and audiences can help bridge the gap. Filmmakers who actively engage with critical and audience feedback are likelier to create works that resonate on multiple levels. Critics, in turn, can continue to evolve their approach, offering insights that help audiences appreciate a film’s deeper layers while recognizing the value of entertainment for its own sake.

Ultimately, the future of cinema may hinge on the industry’s ability to reconcile these differing perspectives. The most successful films will likely transcend the critic-audience divide, resonating across the spectrum by marrying artistic ambition with universal appeal. In a world where opinions are more polarized than ever, filmmakers who can bridge this gap have the potential to shape the next era of storytelling, ensuring that cinema remains a powerful and unifying force in our culture.

Wrapping Up: The Path Forward for Cinema

As we navigate the ever-evolving cinema landscape, the growing divide between critics and audiences is a phenomenon that cannot be ignored. While this divergence presents challenges, it also offers opportunities for innovation and dialogue within the film industry. The key to the future of cinema lies in recognizing the value of both perspectives—acknowledging the critical eye that pushes for artistic depth and the audience’s desire for connection, entertainment, and familiarity.

Ultimately, a film’s success should not be measured solely by its critical acclaim or box office numbers but by its ability to leave a lasting impact on those who experience it. Whether a film resonates more with critics or audiences, its true legacy lies in its power to evoke emotion, spark conversation, and contribute to the cultural tapestry. As the industry continues to evolve, the most enduring films will find a way to bridge the gap, uniting us in our shared love of storytelling.

FAQs

Why do critics and audiences often disagree on movies?

Critics and audiences often have different criteria for evaluating films. Critics may prioritize artistic innovation, thematic depth, and technical mastery, while audiences might focus more on entertainment value, emotional connection, and nostalgia. These differing priorities can lead to divergent opinions on the same movie.

How has social media influenced the divide between critics and audiences?

Social media has amplified the voices of fandoms and general audiences, allowing them to express their opinions and challenge critical perspectives more easily. This has led to echo chambers where like-minded individuals reinforce each other’s views, further widening the gap between critical and popular opinion.

Can a film be successful if it receives poor reviews from critics?

Yes, a film can still be successful with poor critical reviews if it resonates with audiences. Films like Transformers and Jurassic World have demonstrated that solid audience support, driven by nostalgia or spectacle, can lead to commercial success despite negative reviews from critics.

What is the future of film criticism in the age of social media?

Film criticism is evolving in response to the rise of social media and user-generated content. Critics increasingly engage with audiences through social media platforms, offering more accessible and personal reviews. The future of criticism may involve a blend of professional insights and audience perspectives, leading to a more prosperous and inclusive discourse.

How can filmmakers bridge the gap between critics and audiences?

Filmmakers can bridge the gap by creating films that balance artistic ambition with universal appeal. By focusing on universal themes and engaging with critical and audience feedback, filmmakers can craft stories that resonate across the spectrum, appealing to critics and general audiences.

[absolutebl]

BL & Critical Analysis

Pop culture critique & a how to do it... or something

This meaty question came from the lovely @huachengeye Thank you!

Codicil: I do not get paid for pop culture critique (although I once wrote book reviews professionally, long story). So I’m entirely a dilettante. 

The Question!

Q1: Can you can shed some light on your process (of critical analysis)

This is a little like training your eye to edit a document (I bet you can tell that's not one my strong points). Or training your mind to look at data and data collection in terms of the results it may yield and what the initial survey says about the questioner's bias (or can bias results).

First, I have to ask... 

Do you really want to train your eye to critique?

Because it will become a lot harder to immerse yourself in a piece of media if you constantly feel obligated to step back mentally and think about it from various perspectives. 

In other words, you may enjoy BL, or all live action dramas, LESS if you try to think about them critically.

I have an intimate who is a pretty well known writer. She mostly writes humorous fiction. She's open about the fact that this means every time she laughs, she stops and thinks about why that happened and whether is could be used in her prose. She never gets to be fully absorbed by narrative ever anymore because her critical eye is always turned on, especially for the written word.

What you may sacrifice for critique, is a certain level of childish wonder. 

I’m not sure i would necessarily advise doing this. 

My Process 

My process is essentially now visible in this blog. As I watch a show I take a few notes on it (which show up in the weeklies) and then at the end I go through those notes, consolidate, try to be witty about it, and write up a review.

The review usually has something about:

characters, tropes, plot 

narrative & story structure & pace

how this BL fits in with the greater BL genre & history

any thoughts I have on the quality of the production, acting, and/or directing 

my own personal feelings about the show

Thus my reviews tend to take into account several criteria.

For #1-2 I have a background in lit crit as an undergrad (and, like I said, I did once review books for a living) so these are kinda ingrained in me. I’m working on seeing the influence of soap operas, fan fic, and non-western story structures as critically valid, so these are the things I’m actively learning more about the most these days. 

For #3: How does this fit into the history of BL? Since I’ve made it point to watch pretty much all BLs, I feel like I’m set up to think and talk about this. AKA the spreadsheet made me do it. But since I also have anthropology in my academic history, I’m very interested in how a BL represents for its country’s BL oeuvre. I try to judge KBLs against other KBLs (and Kdramas) and look for patterns and trends in how that country’s interpretation of what it “means to be BL” shift over time. 

For #4: my IRL job is tangential to the entertainment industry so that’s accidentally trained my eye for film. I don’t know that I like this part about myself, but it’s happened whether I like it or not. And I don’t have a proper background in film critique. 

Final #5: will discuss further in a bit.

Suggestion? Establish A Rating System 

Come up with your own personal 10 star (or 5 star) rating system.

Write it down. Don’t be afraid to modify or adjust it. It’s yours, your tastes change, nothing is set in stone. 

Pick one ideal example BL for each category that you’re very familiar with for your reference point. Then you can ask yourself, after you’ve watched a new one, whether you liked it more, less, or about the same as that show. (relative rating, similar to grading on a curve) 

I change my examples regularly as my taste changes and as new BLs are added. The bar gets shifted, so to speak. 

My Rating System 

Your reasoning for rating a BL will be different from mine, but here’s mine as an example. 

(Also I never feel bound by this, sometimes I give a show a 8/10 just because it feels like that’s what it deserves.) 

10/10 - HIGHLY RECOMMENDED - my favorite precious squee!, faithful to tropes, happy ending, good chemistry, few flaws, high rewatch potential, makes me happy, examples: Semantic Error, Until We Meet Again 

9/10 ABSOLUTELY RECOMMENDED - loved it and good rewatch potential but probably a few pacing issues or one big flaw, still made me feel good/comforted, examples: Cherry Magic, Bad Buddy

8/10 - RECOMMENDED - some concerns around tropes (like dub con) or story structure/filming but still satisfies as BL, moved me emotionally, rewatchable in parts or not rewatchable but important, examples: Love By Chance, Between Us

7/10 - RECOMMENDED WITH RESERVATIONS - i.e. isn’t quite BL, convoluted, not strictly HEA, too short/long, and/or chemistry issues, may have impact on other BL fans but not me (or on me but not others) examples: Make it Right, KinnPorsche

6/10 - WORTH WATCHING BUT FLAWED - probably around the ending or in narrative structure/cohesion or censorship, disappointed expectations, unlikely to rewatch, examples: My Gear and Your Gown, Love Mechanics

5/10 - WATCH IF YOU HAVE NOTHING BETTER TO DO - but don’t expect much, it’s a total hot mess interesting only because it's BL and I'm probubly pretty conflicted about it, examples: Advance Bravely, Even Sun

4/10 - FATALLY FLAWED - but still basically BL, however... do we want to support this kind of behaviour? examples: Precise Shot, Work from Heart

3/10 - I DON'T KNOW WHAT I AM WATCHING AND NEITHER DOES IT, just seriously why did this get made? examples: Blue of Winter, Physical Therapy 

2/10 - IT'S DEPRESSING - they killed/tortured/etc the gay, save yourself, examples: The Effect, HIStory 3: Make Our Days Count

1/10 - IT'S AWFUL, I WATCHED IT SO YOU DON'T HAVE TO, has all the flaws of 4-3 plus something even more egregious, personally triggering, example: My Bromance series, Round Trip to Love

dnf - self explanatory, but usually I drop because I feel like the narrative is already a #3 and/or headed for a #2 or #1 and then I’m told later that is went there, example: My Tempo

I hand out the fewest 1s & 10s. The most 8s and 7s. Everything else is pretty much on the bell curve you’d expect. 

Q2: What resources do you use to build your reviews?

I listen to a lot of pop culture review critiques in podcast form, often about stuff I'd never watch. But I like the way professionals talk about these things, even if they aren't MY things or don't jive with my personal opinions.

Mark Kermode is my favorite film critic and we like the opposite stuff, but the way he talks about film is very interesting to me. His podcast mini series on the "business of film" is probably one of my must listens. For his main podcast (Kermode & May’s Take), I always skip over all the interviews, people talking about their own films bore me to death (especially if they are actors on the promo junket, save me please). His rants are some of my favorites of all time (try Pirates 3 or Iron Man 2). Someone else’s list. 

I also like Pop Culture Happy Hour from NPR because it brings in multiple perspectives and varied cast of critics who often disagree and the "things making me happy" is a grab bag of fun.

The Bechdel Cast is a feminist critique podcast from Hollywood insiders and they do recaps as well as critique, and it's always fascinating to me to hear what people latch onto in a narrative. However, I only listen if I am already familiar with the film they are discussing.

My background is in anthropology and I've lived all over the world so that helps train me to think in terms on culture's impact on narrative as well as linguistics and so forth. As a personality I’m also quite reserved and deadpan, grumpy, stiff, strict, and kinda cold. I think I gravitate to being an observer and an outsider which helps if you want to analysis stuff. Which is not a claim to objectivity, I don't think there can be objective analysis of pop culture.

But it does make me pause to think, "that made me FEEEL something" why? What am I feeling? How did the actor do that? The script? The direction?

These shows are meant to entertain, whether they are successful or not, for me (and what "successful entertainment" means to me) and how they are doing it is the first question I always ask myself.

Q3: What are the things you look out for when watching a BL?

I ask myself a lot of things I would when looking at any piece of art. Or even when shopping for clothing or a new car or reading a book.

Did I like it? Why did I like it?

Did it move me? Why did it move me? 

Did I react? How did I react? To which bits? Why? 

What tropes and narrative beats was it using to manipulate me and my expectations? Did it meet those expectations? The promises it set up at the start? Did it fulfill the watcher-contract during the course of the narrative? 

Did the filming successfully telegraphy the journey I was meant to take? Did the actors? 

But also... would I rewatch it? Am I tempted to do so the moment it ends? For which bits?

The statistician in me wants to point out that these questions say a lot more about me and my relationship to art than it does about the art itself.

For example

Did I like it? Means... I'm motivated by pure taste and personal preference and complete subjectivity. This is in part formed by a person's background, life state, whole experience with culture and pop culture and society, family, friends. Taste is also just "that" bit. You know, that bit? Likes lemon deserts over chocolate ones, gravities to spicy food, favorite color is green, decorates with potted plants. Just my taste is my taste. I like what I like. 

Yes I have some criteria that subconsciously come into play: I look for clever story structure, subversion or manipulation of tropes, parody, not hitting any of my dislikes (like dub con). But also I have other biases impacting whether I like it (like physical appearance) which I can try to check but usually can't fix. (For example GMMTV's Gawin/Fluke looks so much like an ex of mine I really struggle with his screen presence.)

Did I like it?

The fact that this is the first question I ask myself also should tell you I'm motivated by the emotion these narratives engender. I want them to transport me and move me. I my case I want to feel comforted and satisfied and happy. The ones the make me feel discomfort, especially for too long in the narrative, I am simply going to like less. Sometimes less than I feel like I should (see my struggles with masterworks like ITSAY, YNEH, or The 8th Sense). The very BLs that most professional critics would tout as the best examples of the genre for a wider audience often turn out to be the ones I struggle with the most. (They are also, fortunately for me, the least representative of the bulk of the genre.)

In other words there is ALSO a part of me that genuinely likes and enjoys the trashy stuff. Even the trash I trash watch.

So I would advise you to come up with your own questions. Ask yourself what you want from these shows when you watch them. 

What motivates you? 

Why are you watching them at all? 

What brings you joy from an art or entertainment experience? 

What do you want them to do for you? To you?

You are going to experience them (and therefore analyze them) from this perspective whether you like it or not. So understand yourself is paramount. It's about your relationship to the art, not the art itself.

If I were to give you an assignment I would say start with one BL you really enjoyed, perhaps not your favorite but one level down. And then do one you really did not enjoy. And think about why... 

Happy analyzing! 

(source)

[articleshubspot]

Everything You Need to Know About Movieorca

Welcome to Movieorca, your ultimate movie companion! Dive into a sea of cinematic wonders with our detailed reviews, up-to-date industry news, and the hottest trailers. Whether you're hunting for your next movie night pick or craving insider knowledge on the latest releases, Movieorca is here to guide you. Explore the magic of movies with us and never miss a moment of film brilliance.

[theomenmedia]

Transformers One Posts An Underwhelming Opening Weekend Box Office Number

"Transformers One" sparks but doesn't blaze at the box office. $39M global opening - what went wrong?

Link to the full story: https://www.theomenmedia.com/post/transformers-one-a-subpar-start-at-the-box-office-despite-nostalgic-appeal

[industrynewsupdates]

Window Film Market Size, Share, Growth Analysis And Forecast 2024 - 2030

The global window film market size was valued at USD 11.56 billion in 2023 and is anticipated to grow at a compound annual growth rate (CAGR) of 5.3% from 2024 to 2030.

Increasing demand for energy-efficient window films is expected to propel market growth during the forecast period. Window films are widely utilized for energy efficiency in heating and cooling purposes in residential and commercial applications, commonly in vehicles and windows. According to the U.S. Department of Energy, window films facilitate the average consumption of 30% of heat loss that occurs through windows and doors at homes. Improvements in window films enable the reduction in solar heat gain & winter heat loss in commercial & residential buildings, which is expected to provide sustainable growth over the forecast years. Building Energy Management System (BEMS) effectively conserves energy and improves energy efficiency by creating a stable and sustainable environment in both commercial & residential buildings.

Gather more insights about the market drivers, restrains and growth of the Window Film Market

The increasing number of green building constructions and the development of net zero energy buildings are expected to propel the demand for window films. The rising consumer awareness regarding the sustainability and price of window films, coupled with growing environmental awareness regarding carbon dioxide emissions and improving energy efficiency, is expected to drive the market over the forecast years.

Global carbon emission levels have been increasing steadily on account of the population explosion across Asia Pacific and Latin America, coupled with rapid industrialization and an increasing number of passenger cars in recent years. Stringent regulations regarding energy-efficient buildings & vehicles and increasing concerns about the environment and health are anticipated to fuel the demand.

Low emissivity (Low-E) film helps buildings to retain heat during the winter season. It uses special metallic coatings, which block infrared and ultraviolet rays and allows maximum visible light to prevent fading of interiors in residential and commercial buildings. Low-E glasses are replaced with window films owing to a better return on investment and the latter providing 6.6 times greater energy & cost savings than Low-E glasses.

Ultraviolet-A (UVA) filtering window film can help in reducing skin cancer and skin damage. Growing consumer disposable income in emerging economies has prompted a rising adoption of fuel-efficient passenger cars, coupled with an increasing demand for electric vehicles (EV), expected to drive the market for window film over the forecast years. However, the presence of strict regulations on tinted films used in automobiles, which limits visible light transmission (VLT), is expected to impact the market growth.

Manufacturers are focused on manufacturing high-quality and safety products on account of window film industry standards. As per these standards, the product should have a minimum of 15% light transmission. Low visibility can lead to theft or accidents, especially at night. A lower VLT rating tends to have better glare control, whereas a higher rating is preferred for maintaining natural lights. The VLT of a window film is a crucial part of defining the permissibility of heat protection, UV protection, and security concerns.

High VLT in window films allows better attention of the police to ensure public safety in vehicles. Certain countries have exemptions if drivers or passengers are affected by related medical conditions such as lupus, sunlight allergy, photosensitivity, and melanoma. Windows with a high tint can cause dooring incidents for cyclists and pedestrians owing to low visibility inside & across the vehicle.

Window tint products are likely to provide new growth avenues for market participants. These tint products are manufactured after coloring or dying of window film. Addition of tinting materials or colors help to block the sun rays. This benefits in reduction of cooling costs, minimization of glare on screens, and also offer privacy & safety.

Window Film Market Segmentation

Grand View Research has segmented the global window film market report on the basis of product, application, material and region:

Product Outlook (Volume, Thousand Square Meter; Revenue, USD Million, 2019 - 2030)

• Sun Control

• Decorative

• Security & Safety

• Privacy

Application Outlook (Volume, Thousand Square Meter; Revenue, USD Million, 2019 - 2030)

• Automotive

• Residential

• Commercial

• Marine

• Others

Material Outlook (Volume, Thousand Square Meter; Revenue, USD Million, 2019 - 2030)

• Vinyl

• Polyester

• Plastic

• Ceramic

• Others

Regional Outlook (Volume, Thousand Square Meter; Revenue, USD Million, 2019 - 2030)

• North America

• Europe

• Asia Pacific

• Central & South America

• Middle East & Africa

Browse through Grand View Research's Plastics, Polymers & Resins Industry Research Reports.

• The global nonwoven fabrics market size was valued at USD 52.56 billion in 2023 and is projected to grow at a CAGR of 4.9% from 2024 to 2030. 

• The global polypropylene absorbent hygiene market size was valued at USD 8.78 billion in 2023 and is projected to grow at a CAGR of 4.4% from 2024 to 2030. 

Key Window Film Company Insights

Some of the market participants include Eastman Chemical Company, 3M, and Madico, Inc, among others.

• 3M is a diversified technology company, with business segments, namely industrial, electronics & energy, safety & graphics, health care and consumer. The product portfolio offered by the company includes automotive, commercial and residential window film.

• Eastman Chemical Company operates through four business segments, namely additives & functional products, advance materials, fibers, and chemical intermediates. The product portfolio of the company includes decorative, safety & security and sun-control window film. The company offer window film under advance materials business segment.

• Solar Gard operates as a subsidiary of Saint-Gobain S.A. which was acquired in September 2011. The company is a division of Saint-Gobain Performance Plastics and is involved in the manufacturing Window Film and paint protection film. Its product portfolio includes solar control, safety & security, decorative, anti-graffiti, and paint protection films.

• Toray Plastics (America), Inc. was founded in 1985 and is headquartered in North Kingstown, the U.S. It is a manufacturer of plastic films and foams. The company’s line of business includes polypropylene films, polyester films, bio-based PET films, metalized OPP films, and polyolefin foams.

Key Window Film Companies:

• 3M

• Eastman Chemical Company

• American Standard Window Film

• Saint-Gobain Performance Plastics Corporation (Solar Gard)

• Madico, Inc.

• Toray Plastics (America), Inc.

• Hanita Coatings RCA Ltd. (Avery Dennison Israel Ltd.)

• Johnson Window Films, Inc.

• Armolan Window Films

• Garware Suncontrol

• Reflectiv Window Films

Recent Developments

• In August 2023, Solar Art announced acquisition of Layr, a window film manufacturing company. Layr has wide customer base including office buildings, schools and high-end retailers. This acquisition helped Solar Art to expand its business East Coast region with infrastructure in New York.

• In February 2023, Eastman and High Performance Optics, Inc. announced launch of new window film designed specifically for the transportation industry, which features selective High Energy Visible Light (HEVL) filtering in China.

Order a free sample PDF of the Window Film Market Intelligence Study, published by Grand View Research. 

[captaingimpy]

Thoughts on Media: Zack Snyder and the Art of Visual Storytelling

I’ve been contemplating writing a piece on Zack Snyder for a while now. After watching “Army of the Dead,” I felt compelled to explore his unique style and how he engages audiences with his visually driven narratives. Snyder is a polarizing figure in the film industry, known for his stunning visual spectacles and operatic storytelling. Yet, he often falls short when it comes to deep thematic…

[esonetwork]

Sci-Fi In Film: The Early Years

New Post has been published on http://esonetwork.com/sci-fi-in-film-the-early-years/

Sci-Fi In Film: The Early Years

In the new episode of Tales From Hollywoodland, join Steve, Arthur, Julian, and Mike as they discuss classic sci-fi movies from the early years of Hollywood. They are delving into the production, cultural impact, and personal anecdotes related to these films. They highlight the historical context of the era, such as the fear of atomic bombs, and the rise of sci-fi cinema. The conversation covers iconic movies like “The Blob,” “The Amazing Colossal Man,” and “Forbidden Planet,” noting their influence on later works like “Star Trek.” They also mention the use of color in films, the profitability of low-budget sci-fi, and the significance of drive-ins as social hubs. The episode is a nostalgic trip through the golden age of science fiction, celebrating the genre’s lasting appeal.

Tales From Hollywoodland on Facebook https://www.facebook.com/talesfromhollywoodland 

Tales From Hollywoodland on Instagram https://www.instagram.com/talesfromhollywoodland/

Tales From Hollywoodland on YouTube https://www.youtube.com/channel/UCdLX2kbwHqdn47FNN6vVN7Q 

We want to hear from you! Feedback is always welcome. Please write to us at  talesfromhollywoodland@gmail.com and why not subscribe and rate the show on Apple Podcast, Spotify, iHeartRadio, Goodpods, PlayerFM, YouTube, Pandora, Amazon Music, Audible, and wherever fine podcasts are found. 

#Earlysci-fifilms #Pre-1970sciencefiction #Hollywoodsci-fihistory #Classic sci-fimovies #Thegoldenageofsci-fi #Sciencefictioncinemapodcast #Sci-fifilmanalysis #Hollywoodhistorypodcast #Vintagesci-films #Hollywoodnostalgiapodcast #Sciencefictionstorytelling #Hollywoodclassicspodcast #Sci-fimovietrivia #Sci-fifilmindustr #Hollywoodcinemaevolution #EarlyHollywoodsci-fi #Hollywoodfilmhistory #Hollywoodsci-fipioneers #TalesFromHollywoodlandpodcast #ESONetwork

[narwatharsh01]

The Dynamic Landscape of Films and Animation Industry

Introduction:

The Films and Animation industry is undergoing rapid transformation, fueled by technological advancements and changing consumer preferences. As of the latest available data in 2023, the global films and animation market has reached unprecedented heights, with a significant increase in size and share.

Films and Animation Market Size and Share:

According to recent market reports, the films and animation market has experienced remarkable growth, reaching a size of USD 400 billion in 2023. This surge in market size can be attributed to the rising demand for high-quality content, fueled by the proliferation of digital platforms and the increasing consumption of streaming services globally. The market is expected to continue growing at a CAGR of 9.1% from 2023 to 2028.

Films and Animation Industry Growth and Revenue:

The Films and Animation industry growth is not only reflected in market size but also in revenue generation. In 2022, the industry recorded a total revenue of USD 281.5 billion, showcasing a 17.9% increase from the previous year. The growth is driven by the expanding global audience for both films and animated content, as well as the industry's ability to adapt to evolving technologies.

Films and Animation Market Trends:

Several noteworthy trends are shaping the Films and Animation landscape:

Growth of immersive technologies: Virtual reality (VR) and augmented reality (AR) are gaining traction in filmmaking and animation, offering unique and engaging experiences for audiences.

Focus on sustainability: Environmental concerns are driving a trend towards incorporating sustainable practices into film and animation productions, resonating with audiences and aligning with corporate social responsibility initiatives.

Rise of independent creators: smaller studios and independent creators are gaining prominence, contributing to the industry's diversity and fostering a more dynamic ecosystem.

Films and Animation Market Outlook:

Looking ahead, the Films and Animation market is poised for sustained growth, driven by:

Integration of AI and machine learning: Advancements in AI and machine learning are expected to revolutionize content creation, personalization, and visual effects.

Shift in distribution channels: The rise of streaming services will likely lead to a greater emphasis on direct-to-consumer platforms, offering creators new opportunities to reach global audiences.

Conclusion:

The Films and Animation industry is experiencing a transformative phase, marked by substantial market growth, evolving trends, and increased collaboration. With a positive outlook, the industry is set to continue captivating audiences worldwide, offering diverse content fueled by innovation and technological advancements. As the market continues to expand, stakeholders need to stay informed about emerging trends and adapt to maintain success in this dynamic and competitive landscape.