From Sense of Cinema, an Australian cinema newsletter, a provocative issue that you must read:
What do piracy and new technologies mean for cinema? With the decline of movie theatres and the emergence of new digital media over the past few decades, concerns over the death of cinema and cinephilia have been shared by many intellectuals and cinephiles. This concern finds its roots in Susan Sontag’s renown essay The Decay of Cinema (1996) in which she believes the essence of cinephilia is fundamentally tied to the experience of “going to the cinema” and being captivated in the dark movie theatre, 1 and more recently, in David Bordwell’s apprehension that “films have become files.”2 These viewpoints have sparked debates between older and younger generations of cinephiles from Western and non-Western countries regarding whether the postmodern digital and internet media could ultimately jeopardise the ontology and originality of cinema, or they herald a new era characterised by more diversified breed of cinematic practices. This dossier responds to the debate from the latter perspective by foregrounding the properties of piracy and the consequent development of new cinematic practices within a global decolonial frame.
With the development of new technologies and operations (from videotapes, VCDs, DVDs, to more recently, the internet) over the past 40 years, piracy has played a crucial role in expanding the reach of underground, independent, and arthouse films to a wider audience. It has been instrumental in overcoming limitations imposed by local cinema infrastructure, including censorship, transnational boundaries, and financial constraints. If we move beyond the ethical, legal and economic considerations surrounding intellectual property rights and copyright infringement, in what context are pirated films circulated? What are the new horizons that piracy opens out? And to what extent does piracy transform our relationship with cinema? To this end, this dossier is dedicated to the heterogeneous piracy practices that are integral to an alternative film culture. This film culture, propelled by piracy, foregrounds on-demand film spectatorship and small-screen consumption, thereby challenging the prevailing cultural hegemony enforced by not only the local monolingual power but also global capitalist structures.
In this dossier, the contributors outline diverse forms of film distribution and consumption associated with piracy across different geo-political contexts. All the contributions provide a critical perspective on power, capital and ownership.
One of the main arguments presented in this dossier is the progressive democratic potential of piracy as a means to challenge pre-existing power dynamics. Amanda Robusti analyses how a pirate streaming service, Videoteca di Classe, becomes an anti-fascist force by circulating leftist films and bypassing the official distribution channels controlled by the far-right Italian government. In my article, I provide an overview of the way in which piracy has facilitated new filmmaking practices, grassroots cinephile culture, and public engagement in China, opening up new distribution and exhibition avenues “independent” from the official ideological discourse imposed by the Chinese Communist Party. Similarly, drawing on Michel Foucault’s concept of “transgression”, Imran Firdaus pinpoints that film piracy in Bangladesh plays a radical role in democratising the distribution and exhibition of national culture, resulting in the emergence of a new cinephilia and the growth of independent filmmaking practices.
Apart from transgressing the oppressive political forces, piracy as part of a postmodern flux cuts across national and cultural boundaries and fosters the hybridity of culture and commerce. In their empirical research of piratas (piracy vendors) in Colombia, Juana Suárez and Luisa González provide insight into the operation of the alternative distribution and consumption ecosystems in the country. These vendors break cultural and class barriers in disseminating films to metropolitan and regional audiences and filmmakers from lower socioeconomic backgrounds, thus expanding access beyond the intellectual elite circle and narrow economic circuits.