- ''Piracy is a crime''- ''Piracy is a crime''- ''Piracy is a crime''- ''Piracy is a crime''- ''Piracy is a crime''- ''Piracy is a crime''-''Piracy is a crime''- ''Piracy is a crime''- ''Piracy is a crime''- ''Piracy is a crime''- ''Piracy is a crime''-
Many moons ago I promised all my faithful readers that I should make a AMC entry about why pirate downloading of movies could save the European movie industry. I even wrote «from a historical perspective» to sound serious and intelligent.
Well, it’s time to tell the truth!
Piracy is a crime but Robbin Hood was a criminal we all could love. Why? Because he stole from the rich and gave to the poor, that’s why! When a person downloads movies, music and books from faceless huge multimedia corporation it’s a victimless crime.
Well perhaps not victimless, but at least the damage is minute. I am not a person who loves the independent cinema, or the European art films.
A still picture from AvP2: Requiem. . The Scream of Pain represents how Hollywood loses money because teenagers see this film for free. Taken from youtube.com.
But I think that much of the great movies that are American, are just stolen ideas from Europe, and that the mass production of Hollywood is too great of a competition (that are historically based on luck) that castrate the European cinema and perhaps the world cinema.
The film history started in the 19th century Europe. Many believe it started in New York by Thomas Edison. That is a lie! Thomas Edison stole the idea from two French brothers called Auguste and Louis Lumière. What Edison did was patent the moving picture idea for the American marked so that no American could profit from films without Edison getting some for it.
Anyway… At this time there were silent pictures and the US and Europe where equal when it comes to marked and distribution. «Why is that?» you may wonder.
Because the movies were silent.
Since the films were text based the English speaking countries had no advantage over French, German even Norwegian cinema since text could easily be replaced and adapted to other languages. Besides; the visual imagery was international. Everybody understood the moving picture.
So what happened?
Well World War One (1914 – 1918) broke loose. A war the Americans had no interest in (since it wasn’t about oil or any other thing the US needed) and so while we (the Europeans) blew each other up ,the Americans could perfect their «art». In fact, not only did the Americans move forward in the cinema industry, the Europeans moved backwards since film reels where destroyed to make bombs and explosives.
Birth of a Nation. It's cinema gold (and it's racist as hell!)
The American film history got it’s first real advantage with the movie Birth of a Nation
, by D. W. Griffith
which film history records as the first real Hollywood picture. The Classical Hollywood Style (or narrative)
were perfected in that movie with all their international appeal. It was just sound that was missing.
Then WWI ended but the American movie advances would not be easily fought back for the Europeans. So there was a great gap between a Europe in ruin and a untouched US. And while the rebuilding was first priority of the Europeans (art is something you enjoy when you can eat and have a roof. A luxury!) the Americans kept selling their classical Hollywood type movies to the Europeans.
After the roofs where build, and food was again served, the Europeans started to compete with Hollywood again. But the classic Hollywood style was too dominant and expensive to make become impressive so the Europeans tried competing in other ways. With soul. With being artistic.
Three constructive and important movement where then developed in Europe to compete with the US. French Impressionistic, German Expressionistic and Soviet Montage. These movement for collectively known as the Avant-Guarde, a military term to show that these were aggressive movements against Hollywood mainstream dominance.
The Hollywood Sign; Behind it European cinema is being tied down, raped, then killed.
Hollywood watch with amazement of the creative force the Europeans had. Of course Hollywood being the cowards they where never tried to experiment (as an experiment could blow up and become a Box office bomb) so what they did instead was steal all the European ideas that became successfully.
To make matters worse the talkies would soon emerge, a problem that would become apparent as Germans didn’t understand French, nor the French could understand Swedish (it was the Babel confution all over again!). But «everybody» understood English. USA had yet another advantage.
And the luck of the Americans would continue through the years. Then WWII would came, giving us Europeans lots of trouble that yet again was more or less left USA untouched. Not only that but many creative and intelligent people moved to America for fear of their lives. Leaving Europe yet again in ruin and now with fewer ideas too. This of course this is luck and therefore is not the US’s fault.
What is their fault is that they always looked for European creative people, and when the found them (ie. Hitchcock, Zwart, von Trier) they brought them to Hollywood. Leaving Europe to creatively starve time and again.
Here comes the truly horrible side of things!
Alfred Hitchcock: Made some of Hollywood greatest movies. Oh, and he was British!
The profits that USA made from the European marked was just gravy as the American population was already bigger than any European country. The average Hollywood blockbuster, did and do, make enough money to be successful domestically.[1
So that when the French cinema was more or less based in their own country, and Norwegians to theirs, USA could easily come to any one country and eat up their marked while still being self-sufficient in theirs. The consequence was/is that every European country had/has a small marked, that got/get’s smaller with American competition while Americans marked was/is far bigger AND got/having the advantage of having a big international appeal.
And so the story was written, and never really changed… until now! With illegal downloading of movies the US-European marked is shrinking. So now the problem for the US, that has always been the trouble for Europe, is that they get more and more reliant on their own domestic marked.
That is the real truth about why the MPAA is fearful of Piracy.
MPAA logo: This is the real logo for the illuminati (just kidding. I better or the MPAA is going to get me.)
Not because they could loose money but because they could earn less. If the Europeans where selective (not that they are) in just downloading American produced movies then the European cinema can start to compete with the enormous entertainment industry that is Hollywood.
In conclusion, WE DON’T OWE AMERICANS ANYTHING! And they should stop being so bitchy since as history reveals they have had all the luck (yes, luck!). Hollywood can have enormous budget with fantastic effects, great actors and scenery since they can afford it. While Europe will have to make movies with smaller budget becoming less extravagant and appealing because of it. Like most of the US world relations, cinema distribution is unfairly balanced and the fear of piracy is far less of a threat than they want you to believe.
At least that’s MY OPINION. Now I hope that MPAA do not read this entry and try to make me responsible for all the lost profit. I can not afford paying their next horror sequel, game-movie or romantic comedy with a happy ending. In real life, as Dawkins would support me in, Goliath kills David every time.. It’s survival of the fittest. Always.
Blog 2.0 - Will Not Cry for the US anymore!
Note: This is a simplification of film history to prove my point. Lot’s of people does this. I could for instance tell how Europe competed with the US by having quotas, and the British demanding a certain percentage of American movies that was screened in Britain to be made in Britain. But this would be distracting to my cause.
If you want to know more about movie history, there are lots of books to be found on the subject. My recommendation is Bordwell’s Film History (for the details) and Film by Andrea Gronemeyer (for the cliffnotes)