Friendship, above all else, can save cinema.
Cinema is only dead as a structure. The cinema as a building is dead. The New Cinema will be much too fast and ubiquitous to be housed in any one location.
Any person who picks up a movie camera and does not understand they are committing a political act is misguided. To enter an arena like moviemaking, with a repertoire that includes the likes of The Eternal Jew, Man with a Movie Camera, Jaws, Roger and Me, The Passion of the Christ, and even something along the lines of The O’Reilly Factor, the idea of compiling series of moving pictures, while not creating something political, is improbable. While not all these films are perhaps political in content, they all undoubtedly add to the mythology of how visuals are to be presented and understood. A fork is thus presented: One can create a work in the style of the past, which is owned by the bourgeois, or one can forge ahead, reinventing cinema in a way that is satisfying solely to the individual. Those who choose the past add to the empire of the bourgeois, and contribute to politics of the wealthy and elite; those who choose reinvention create something almost unintelligibly current: A new language.
A static cinema acts as though the ways of the past are the ways of today. Therefore, the static cinema is a cinema of lies. The new cinema relishes in the infinite interpretations of the now.
The idea of an avant garde in the New Cinema is unnecessary. The New Cinema will be a world-wide dialog between filmmakers, as well as a movement of local neighborhoods. As moving making costs continue to decline, depending on modern patrons like Disney and Universal will become as absurd as seeking a painting patronage with the Catholic Church. The new movie will no longer be an interpretation of a shooting script, but an interpretation of life. Every movie will therefore be cutting edge, because every movie will be about the highly personal now.
The visual aesthetics of today which maintain cultural capital with the public at large are mirrored to a T with our current administration. That is to say our current system of understanding visuals comes from the top down in every way: from fashion to film. A dramatic breakdown of this strictly esoteric model is imperative. This is to be understood to a point beyond a mere rebirth. To embrace the modernist mantra of “to be of one’s own time” in this case seems to be entirely absurd. To accept our own time is to accept that false wars are reasonable, and that genocide in certain countries is sufficiently fine. The New Cinema in this sense is not a reinterpretation of the cinema of the past, but rather a complete amnesia. It is a starting over, birthed into a new consciousness altogether.
If one can imagine a Marcel Duchamp sans cynicism, one can imagine the New Cinema. That is: Yes! Indeed this must be cinema!
No two films in the New Cinema could ever be identical, for no moment in time could ever duplicate itself. This is quite contrary to the static cinema under the power of corporate monopoly. This system of money and authority demands a movie be a duplicate of previously established aesthetics. The marginalization and pacifying of the audience is the static cinemas objective; a celebration and ongoing empirical study of human complexities is the New Cinema’s goal.
I don’t suppose the New Cinema could be considered art anymore than a well informed conversation between two old friend or colleagues. To apply a label with such archaic connotations like art to the New Cinema would of course be left to the discretion of the individual. It seems to me that art is something that exists with bookends as a rule. Picasso painted a picture, and then hung it up at the museum. The ensuing post cards and posters further proclaimed the finality of the work. I see no reason why a movie should ever be finished. Life never finishes (in the sense that it goes on for everyone else), so in this sense, the new cinema perhaps could be championed as the ultimate art into life.
The New Cinema can do nothing but move! move! move! The in vogue style of today will be that of the fascists tomorrow. It is imperative that the new cinema always be at least three days onward.