Media to Media Connect 2
फिल्म पत्रकारिता का बदलता आयाम: नये अवसर और युवा पत्रकार Changing trends of Film Journalism: New Opportunities and Young Journalists | Media to Media Connect 2
As independent films continue to struggle against dwindling revenue streams, both foreign and domestic, one related industry (also in peril) contributing to the precariousness of today’s small film is Film Journalism – i.e. The Press. There are now fewer full-time journalists (and therefore film journalists) than ever before. There are more films than ever before. As these seemingly inexorable trends continue, the unsuspecting victims are independent films. When you consider these two massive industries together – Filmmaking and Journalism – it is impossible to think about the fate of independent film without considering the state of film journalism. Indies, more so than large studio fare, are dependent on a positive critical buzz to propel them to success. Some analysts argue that modern movie marketing, using pop culture convention appearances and social media along with traditional means of advertising, has led, in part, to a decline in the readership of many reviewers for newspapers and other print publications. However, in recent years, there has been a growing belief in the film industry that critic aggregators are increasing the collective influence of film critics. This has led to studies such as one commissioned by 20th Century Fox claiming that younger viewers give the website more credibility than the major studio marketing, which undercuts its effectiveness.
Today, fan-run film analysis websites like Box Office Prophets, CineBee and Box Office Guru routinely factor more into the opinions of the general public on films produced.
Tuesday, 22 Sept 2020 (5.30 pm to 7.00 pm)
Suhasini Desai - The learned speaker stated that the advent of the digital age is ensuring that film journalism is growing at an exponential rate. She quoted a study by Fox which stated that a majority of the viewers believe websites and blogs more than large media houses. The speaker takes this as a positive sign for those who wish to engage in film journalism. She believes there is a future for young journalists as well.
Ajit Rai - The learned speaker spoke about how there is very little support for film journalism in India, but that is fast changing. He quoted the example of France where the Cannes Film festival is held each year which is where the biggest names of Bollywood, Hollywood and all the rest come for. He states that there is a budget in excess of 150 million Euros and that this helps in promoting film journalism. He states that the French model is one where there is an onus given to one’s own mother tongue and not English and yet there seems to be no issue in understanding one another. He further states that if an individual has covered the Cannes festival in person for thirty years, only then are they awarded a ‘Whirte Category’ which comes with many perks. The point being, that there is a system in place which rewards loyalty to an event without imposing restrictions of language or culture. This is something worth emulating, especially for large countries with tremendous growth potential in film journalism such as India. He quoted further examples from other countries specifically the UK where there are multiple ways by which film journalism flourishes. He laments that this is not evident in bollywood at all, and that serves to restrict film journalism severely because of the heavy censorship and bias.
Kamal Sharma - The learned speaker believes that there is a dilution within the profession being discussed duie to the fact that so much content can be produced and released so easily. He quotes the example of radio and how even in that profession there have been tremendous changes. The speaker believes that for people to enter film journalism they must be deeply entrenched in regional languages and have a firm command over the technicalities of the filming process.
Anil Choubey - The learned speaker stated that the very nature of film journalism is being subverted. He states that initially to be a film journalist one had to be passionate and driven about the subject matter since content was given priority. This ensures that film journalists were neutral, open, and not concerned with economic incentives such as they are doing today. He still maintains that all eras belong to the youth of that era and thus they will be able to navigate this minefield ever. He though states the one value that is not dependent on time in the profession of film journalism, and that is integrity. Integrity guarantees fame and name, not money. Continuing down the trend of today, film journalists may be well paid, but they will be unremarkable, and thus ultimately, redundant.