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10-Aug-2015 20:12 by 6 Comments

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construction of “Content” as an idea is perhaps the key to the aesthetic failure of many online film-sites to be anything other than holding areas for a vast range of sub-standard short film-making.

In theory it all sounded fantastic, Francis Ford Coppola’s prophecy in about fat children, video cameras and masterpieces looked like it might be coming true.Both of these genres have thrived on the web for a number of reasons.In the case of Fan Films the whole tech-enabled community aspect of the web is a perfect space for sharing tips, news, insults and feedback.More importantly, the internet is still a zone where regular copyright rules don’t quite apply. What is fascinating is the way they show how new technology – desktop post-production software and the net as a distribution structure – has allowed fans an opportunity to create works that extend and develop the fictional world of their cult-objects.Having got this far, the challenge now is to locate and explore the new styles and forms that actually are only just beginning to emerge from the web as a place where moving image is made, displayed and consumed. genre that is entirely exclusive to online short film, which has often been dismissed as purely ephemeral, is the Fan Film and its less reverent relative, the Film Parody.

They are not new phenomena, there were amateur 16mm.

pastiches within a few years of the original’s release (but no real method to distribute them), and Parody films are the successors to a long history of films-mocking-films.

But somehow “Content” in its purest form was just that: all throwaway images and cheap gags with little or no sense of form, context or feeling for the new medium. isn’t to write off completely those well-known “download-the-wacky-movie” sites, because what they did at a crucial point was to provide an outlet for a new generation of film-makers suddenly shooting shorts on domestic DV cameras and then editing them on their home computers.

A whole mess of “Content”, not generally good enough or well resourced enough to breakthrough into film festivals or TV, could at least stake a claim to some publicly accessible webspace.

Professionals mingled with amateurs, polished student films mixed up with teenage camcorder flix, FX-house side-projects became interchangeable from painstaking bedsit animations.

The cross-fertilisation of eclectic kinds of film-makers at all levels of the game, and many completely new to it, was exciting in itself, breaking down some of the boundaries and blockages that commissioning bodies, funders, companies and studios have always used to prevent inexperienced, untested talent from getting through too quickly.