The History of Cartography, the “Most Ambitious Overview of Map Making Ever,” Is Free Online

in History, Maps | December 19th, 2023

FYI: The Uni­ver­si­ty of Chica­go Press has made avail­able online — at no cost –five vol­umes of The His­to­ry of Car­tog­ra­phy. Or what Edward Roth­stein, of The New York Times, called “the most ambi­tious overview of map mak­ing ever under­tak­en.” He con­tin­ues:

Peo­ple come to know the world the way they come to map it—through their per­cep­tions of how its ele­ments are con­nect­ed and of how they should move among them. This is pre­cise­ly what the series is attempt­ing by sit­u­at­ing the map at the heart of cul­tur­al life and reveal­ing its rela­tion­ship to soci­ety, sci­ence, and reli­gion…. It is try­ing to define a new set of rela­tion­ships between maps and the phys­i­cal world that involve more than geo­met­ric cor­re­spon­dence. It is in essence a new map of human attempts to chart the world.

If you head over to this page, you will see links (in the left mar­gin) to five vol­umes avail­able in a free PDF for­mat. The image above, appear­ing in Vol. 2, dates back to 1534. Cre­at­ed by Oronce Fine, the first chair of math­e­mat­ics in the Col­lège Roy­al (aka the Col­lège de France), the map fea­tures the world drawn in the shape of a heart. A pret­ty beau­ti­ful design. Below you can find links to the indi­vid­ual vol­umes avail­able online.

Vol­ume 1

The His­to­ry of Car­tog­ra­phy: Car­tog­ra­phy in Pre­his­toric, Ancient, and Medieval Europe and the Mediter­ranean

Vol­ume 2: Book 1

Car­tog­ra­phy in the Tra­di­tion­al Islam­ic and South Asian Soci­eties

Vol­ume 2: Book 2

Car­tog­ra­phy in the Tra­di­tion­al East and South­east Asian Soci­eties

Vol­ume 2: Part 3

Car­tog­ra­phy in the Tra­di­tion­al African, Amer­i­can, Arc­tic, Aus­tralian, and Pacif­ic Soci­eties

Vol­ume 3: 

Car­tog­ra­phy in the Euro­pean Renais­sance: Part 1

Car­tog­ra­phy in the Euro­pean Renais­sance, Part 2 

Vol­ume 4:

Car­tog­ra­phy in the Euro­pean Enlight­en­ment

Vol­ume 5:

Car­tog­ra­phy in the Nine­teenth Cen­tu­ry, Forth­com­ing

Vol­ume 6:

Car­tog­ra­phy in the Twen­ti­eth Cen­tu­ry

If you buy any of the print­ed ver­sions on Ama­zon, each edi­tion will cost you $400-$500. As beau­ti­ful as the book prob­a­bly is, you’ll like­ly appre­ci­ate this free dig­i­tal offer­ing.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Down­load 91,000 His­toric Maps from the Mas­sive David Rum­sey Map Col­lec­tion

40,000 Ear­ly Mod­ern Maps Are Now Freely Avail­able Online (Cour­tesy of the British Library)

Behold an Incred­i­bly Detailed, Hand­made Map Of Medieval Trade Routes

Ancient Maps that Changed the World: See World Maps from Ancient Greece, Baby­lon, Rome, and the Islam­ic World

The World Map That Intro­duced Sci­en­tif­ic Map­mak­ing to the Medieval Islam­ic World (1154 AD)

 

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The History of the Earth (All 4.5 Billion Years) in 1 Hour: A Million Years Covered Every Second

in History, Science | December 19th, 2023

From Kurzge­sagt comes the his­to­ry of our plan­et in one hour. They write: “Earth is 4.5 bil­lion years old — which is approx­i­mate­ly the same amount of time it took us to cre­ate this video. We’ve scaled the com­plete time­line of our Earth’s life into our first ani­mat­ed movie! Every sec­ond shows about a mil­lion years of the planet’s evo­lu­tion. Hop on a musi­cal train ride and expe­ri­ence how long a bil­lion years real­ly is.” Below, you can find the time­stamps for the geo­log­ic peri­ods cov­ered in the video.

0:00 Intro
0:51 Hadean
8:04 Eoarchean
13:20 Pale­oarchean
18:35 Mesoarchean
23:51 Neoarchean
27:47 Sider­ian
30:24 Rhy­a­cian
33:42 Orosiri­an
36:58 Stather­ian
39:38 Calym­mi­an
42:15 Ectasian
44:52 Sten­ian
47:30 Ton­ian
51:12 Cryo­gen­ian
52:18 Edi­acaran
53:35 Cam­bri­an
54:17 Ordovi­cian
54:49 Sil­uri­an
55:08 Devon­ian
55:55 Car­bonif­er­ous
56:43 Per­mi­an
57:21 Tri­as­sic
58:02 Juras­sic
58:46 Cre­ta­ceous
59:48 Pale­o­gene
1:00:21 Neo­gene
1:00:38 Qua­ter­nary
1:00:45 End­ing

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

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Two Tiny Rembrandt Paintings Have Been Rediscovered & Put On Display in Amsterdam

in Art | December 18th, 2023

Many first-time vis­i­tors to the Lou­vre expe­ri­ence a let­down to dis­cov­er how small the Mona Lisa is -just 21” x 30”.

Mean­while, over in Ams­ter­dam, vis­i­tors have been flock­ing to the Rijksmu­se­um, eager to lay eyes on the two small­est for­mal works in the museum’s col­lec­tion.

Mea­sur­ing slight­ly less than 8” tall, they are about as tall as the aver­age retail banana as per US Depart­ment of Agri­cul­ture esti­mates.

It’s not just the match­ing oval por­traits’ size that’s pack­ing ’em in.

The recent­ly redis­cov­ered paint­ings have been iden­ti­fied as the work of Rem­brandt Har­men­szoon van Rijn, the lead­ing artist of the Dutch Gold­en Age.

Paint­ed in 1635, the por­traits fea­ture Jan Willem­sz van der Pluym, a wealthy 17th-cen­tu­ry plumber and his wife, Jaap­gen Caerls­dr, dressed in black with stiff white ruffs. The cou­ple owned the gar­den next to the painter’s moth­er, and he was dis­tant­ly relat­ed to them through a mar­riage on her side.

Their triple-great-grand­chil­dren put the por­traits up for auc­tion in 1760, after which they passed through sev­er­al pri­vate col­lec­tions, before drop­ping entire­ly from pub­lic view fol­low­ing an auc­tion in the sum­mer of 1824.

Near­ly two hun­dred years lat­er, Jan and Jaapgen’s por­traits weren’t mak­ing much of an impres­sion on that win­ning bidder’s descen­dants.

As Hen­ry Pet­tifer, an Old Mas­ter Paint­ings spe­cial­ist at Christies, which con­duct­ed both the 1824 auc­tion and the one last sum­mer, where the por­traits fetched 14.3 mil­lion dol­lars, told the Wash­ing­ton Post, “the fam­i­ly liked the pic­tures but were nev­er cer­tain that they were by Rem­brandt and nev­er real­ly looked into that:”

The pic­tures were com­plete­ly absent from the Rem­brandt lit­er­a­ture in the 19th and 20th cen­turies, which was extra­or­di­nary. They have inti­ma­cy about them, a dig­ni­ty. They’re extra­or­di­nary… They’re unlike some of his grand, for­mal com­mis­sioned por­traits, and they are some­thing much more spon­ta­neous and inti­mate. I think the rea­son for that is that the sit­ters were very close­ly con­nect­ed to Rem­brandt. They were very much from Rembrandt’s own inner cir­cle. We should regard them as per­son­al doc­u­ments rather than for­mal com­mis­sions.

The most recent win­ning bid­der is com­mit­ted to keep­ing the paint­ings in the pub­lic eye with a long term-loan to the Rijksmu­se­um, where exten­sive research using X‑radiography, infrared pho­tog­ra­phy, infrared reflec­tog­ra­phy, macro X‑ray flu­o­res­cence, stere­omi­croscopy and paint sam­ple analy­sis con­firmed their prove­nance.

Experts have also not­ed sim­i­lar­i­ties in com­po­si­tion, col­or, and paint­ing tech­nique between these works and larg­er por­traits Rem­brandt exe­cut­ed dur­ing the same peri­od.

Jonathan Bikker, the Rijksmuseum’s cura­tor of 17th-cen­tu­ry Dutch paint­ing, describes the ver­i­fi­ca­tion of prove­nance as “mind­blow­ing:”

Total­ly unknown works hard­ly ever hap­pen. We real­ly want­ed to be able to show them.

Relat­ed Con­tent 

Explore the New 717-Gigapix­el Scan of Rembrandt’s The Night Watch, the Most Detailed Pho­to Ever Tak­en of a Work of Art

300+ Etch­ings by Rem­brandt Now Free Online, Thanks to the Mor­gan Library & Muse­um

The Rem­brandt Book Bracelet: Behold a Func­tion­al Bracelet Fea­tur­ing 1400 Rem­brandt Draw­ings

Sci­en­tists Cre­ate a New Rem­brandt Paint­ing, Using a 3D Print­er & Data Analy­sis of Rembrandt’s Body of Work

– Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo and Cre­ative, Not Famous Activ­i­ty Book. Fol­low her @AyunHalliday.

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Threads Now Available in Europe & UK (Plus the US): Get Our Daily Culture Posts There at @OpenCulture

in Random | December 17th, 2023

Threads is on the rise. After get­ting released in over 100 coun­tries (includ­ing the US and UK) ear­li­er this year, Meta has just made Threads avail­able in the EU. And that’s where we’re now shar­ing our dai­ly posts, along with oth­er objects of cul­tur­al inter­est. If you sign up, please search for @openculture, and give us a fol­low. Or just click right here.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

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The World Map That Introduced Scientific Mapmaking to the Medieval Islamic World (1154 AD)

in History, Maps | December 15th, 2023

Cast your mind, if you will, to the city of Ceu­ta. If you’ve nev­er heard of it, or can’t quite recall its loca­tion, you can eas­i­ly find out by search­ing for it on your map appli­ca­tion of choice. Back in the twelfth cen­tu­ry, how­ev­er, you might have had to con­sult an image of the known world engraved on a 300-pound, six-and-a-half-foot wide sil­ver disk — but then, if you had access to that disk, you’d know full well where Ceu­ta was in the first place. For it belonged to King Roger II of Sici­ly, who’d com­mis­sioned it from the geo­g­ra­ph­er, trav­el­er, and schol­ar Abū Abdal­lāh Muham­mad ibn Muham­mad ibn Abdal­lāh ibn Idrīs al-sharif al-Idrīsī — more suc­cinct­ly known as Muham­mad al-Idrisi — per­haps Ceu­ta’s most accom­plished son.

“Al-Idrisi stud­ied in Cor­do­ba and trav­eled wide­ly as a young man, vis­it­ing Asia Minor, Hun­gary, the French Atlantic coast, and even as far north as York, Eng­land,” writes Big Think’s Frank Jacobs. In 1138, Roger II “invit­ed al-Idrisi to his court at Paler­mo, pos­si­bly to explore whether he could install the Mus­lim noble­man as a pup­pet ruler in the bits of North Africa under his domin­ion, or in Spain, which he hoped to con­quer.” The project that result­ed from this meet­ing, fif­teen years of work lat­er, was “a new and accu­rate map of the world.” In addi­tion to knowl­edge gained on his own exten­sive trav­els, Al-Isidiri con­sult­ed ancient sources like Ptolemy’s Geog­ra­phy and “inter­viewed ship’s crews and oth­er sea­soned trav­el­ers, but retained only those sto­ries on which all were in agree­ment,” leav­ing out the myth­i­cal tribes and fan­tas­ti­cal crea­tures.

In addi­tion to the grand disk, Al-Idrisi cre­at­ed an atlas con­sist­ing of 70 detailed, anno­tat­ed maps called Nuzhat al-mushtāq fi’khtirāq āl-āfāq. That Ara­bic title has been var­i­ous­ly trans­lat­ed — “the book of pleas­ant jour­neys into far­away lands,” “the excur­sion of the one who yearns to pen­e­trate the hori­zons,” “the excur­sion of one who is eager to tra­verse the regions of the world” — but in Latin, the book was sim­ply called the Tab­u­la Roge­ri­ana. Alas, writes Jacobs, “the orig­i­nal Latin ver­sion of the atlas (and the sil­ver disk) were destroyed in 1160 in the chaos of a coup against William the Wicked, Roger’s unpop­u­lar son and suc­ces­sor.” Still, Al-Idrisi did man­age to bring the Ara­bic ver­sion back with him to North Africa, where it became an influ­en­tial exam­ple of sci­en­tif­ic car­tog­ra­phy for the Islam­ic world.

A glance at the Library of Con­gress’ Ger­man fac­sim­i­le from 1928 at the top of the post reveals that Al-Idrisi’s world map looks quite unlike the ones we know today. He put south, not north, at the top, the bet­ter for Islam­ic con­verts to ori­ent them­selves toward Mec­ca. “His Europe is sketchy, his Asia amor­phous, and his Africa man­ages to be both par­tial and over­sized,” Jacobs notes, but nev­er­the­less, he got a lot right, includ­ing such lit­tle-known regions as the king­dom of Sil­la (locat­ed in mod­ern-day Korea) and cal­cu­lat­ing — approx­i­mate­ly, but still impres­sive­ly — the cir­cum­fer­ence of the entire Earth. We might con­sid­er pay­ing trib­ute to Al-Idrisi’s achieve­ments by mak­ing a trip to his home­town (a Span­ish-held city, for the record, at the very tip of Africa north-east of Moroc­co), which seems like a pleas­ant place to spend a few weeks — and a promis­ing start­ing point from which to pen­e­trate a few hori­zons of our own.

via Big Think

Relat­ed con­tent:

The His­to­ry of Car­tog­ra­phy, “the Most Ambi­tious Overview of Map Mak­ing Ever Under­tak­en,” Is Free Online

How Did Car­tog­ra­phers Cre­ate World Maps before Air­planes and Satel­lites? An Intro­duc­tion

The Evo­lu­tion of the World Map: An Inven­tive Info­graph­ic Shows How Our Pic­ture of the World Changed Over 1,800 Years

40,000 Ear­ly Mod­ern Maps Are Now Freely Avail­able Online (Cour­tesy of the British Library)

500+ Beau­ti­ful Man­u­scripts from the Islam­ic World Now Dig­i­tized & Free to Down­load

The Birth and Rapid Rise of Islam, Ani­mat­ed (622‑1453)

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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Hunter S. Thompson Sets His Christmas Tree on Fire, Nearly Burning His House Down (1990)

in Literature, Random | December 15th, 2023

It was some­thing of a Christ­mas rit­u­al at Hunter S. Thomp­son’s Col­orado cab­in, Owl Farm. Every year, his sec­re­tary Deb­o­rah Fuller would take down the Christ­mas tree and leave it on the front porch rather than dis­pose of it entire­ly. That’s because Hunter, more often than not, want­ed to set it on fire. In 1990, Sam Allis, a writer for then for­mi­da­ble TIME mag­a­zine, vis­it­ed Thomp­son’s home and watched the fiery tra­di­tion unfold. He wrote:

I gave up on the inter­view and start­ed wor­ry­ing about my life when Hunter Thomp­son squirt­ed two cans of fire starter on the Christ­mas tree he was going to burn in his liv­ing-room fire­place, a few feet away from an unopened wood­en crate of 9‑mm bul­lets. That the tree was far too large to fit into the fire­place mat­tered not a whit to Hunter, who was sport­ing a dime-store wig at the time and resem­bled Tony Perkins in Psy­cho. Min­utes ear­li­er, he had smashed a Polaroid cam­era on the floor.

Hunter had decid­ed to video­tape the Christ­mas tree burn­ing, and we lat­er heard on the replay the ter­ri­fied voic­es of Deb­o­rah Fuller, his long­time sec­re­tary-baby sit­ter, and me off-cam­era plead­ing with him, “NO, HUNTER, NO! PLEASE, HUNTER, DON’T DO IT!” The orig­i­nal man­u­script of Hell’s Angels was on the table, and there were the bul­lets. Noth­ing doing. Thomp­son was a man pos­sessed by now, full of the Chivas Regal he had been slurp­ing straight from the bot­tle and the gin he had been mix­ing with pink lemon­ade for hours.

The wood­en man­tle above the fire­place appar­ent­ly still has burn marks on it today.

Note: An ear­li­er ver­sion of this post appeared on our site in 2015.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Hunter S. Thompson’s Har­row­ing, Chem­i­cal-Filled Dai­ly Rou­tine

Hunter S. Thomp­son Chill­ing­ly Pre­dicts the Future, Telling Studs Terkel About the Com­ing Revenge of the Eco­nom­i­cal­ly & Tech­no­log­i­cal­ly “Obso­lete” (1967)

Hear the 10 Best Albums of the 1960s as Select­ed by Hunter S. Thomp­son

Hunter S. Thomp­son, Exis­ten­tial­ist Life Coach, Gives Tips for Find­ing Mean­ing in Life

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Björk Takes You on a Journey into the Vast Kingdom of Mushrooms with the New Documentary Fungi: Web of Life

in Film, Nature | December 14th, 2023

As far as nar­ra­tors of doc­u­men­taries that offer a hyp­not­i­cal­ly close view of nature, David Atten­bor­ough has long stood unop­posed. But just this year, a rel­a­tive­ly young chal­lenger has emerged: the Ice­landic musi­cian-actress Björk Guð­munds­dót­tir, much bet­ter known by her giv­en name alone. “The liv­ing world is con­nect­ed by a vast king­dom of life we are only just begin­ning to dis­cov­er,” she says, her dis­tinc­tive accent and cadence rec­og­niz­able at once, in the trail­er above for the doc­u­men­tary Fun­gi: Web of Life. And she empha­sizes that fun­gi — known or unknown, preva­lent or at risk of van­ish­ing alto­geth­er — are so much more than mush­rooms.”

Nature doc­u­men­taries exist in part to cor­rect just such care­less con­fla­tions, and oth­er mis­con­cep­tions besides. But Fun­gi: Web of Life has larg­er ambi­tions, fol­low­ing biol­o­gist Mer­lin Shel­drake “as he embarks on a jour­ney through the ancient Tarkine rain­for­est of Tas­ma­nia,” writes Colos­sal’s Kate Moth­es. “Time­lapse cin­e­matog­ra­phy reveals up-close details of rarely seen fun­gal phe­nom­e­na, from the dis­per­sion of spores to vast sub­ter­ranean net­works known fond­ly as the ‘wood wide web.’ ” Shel­drake “vis­its sci­en­tists and design­ers at the fore­front of their fields, dis­cov­er­ing nev­er-before-seen species and learn­ing from myceli­um to cre­ate new, sus­tain­able prod­ucts and envi­ron­men­tal solu­tions.”

The young, fun­gi-ded­i­cat­ed Shel­drake is the kind of pro­tag­o­nist for whom doc­u­men­tar­i­ans hope. And the par­tic­i­pa­tion of Björk in a project like this isn’t as much of a fluke as some may assume, giv­en the pres­ence of a stand­out track called “Fun­gal City” on her most recent album, Fos­so­ra. Its visu­als, writes Ryan Wad­doups at Sur­face, “paint a hyper-vivid por­trait of Björk ful­ly immersed in her mush­room era,” which began when “she returned to her home­town Reyk­javik to record dur­ing lock­down” in the time of COVID. “To dis­tract her­self, she watched nature doc­u­men­taries like Netflix’s Fan­tas­tic Fun­gi, becom­ing enam­ored with its mag­i­cal time lapse footage of mush­rooms slow­ly over­tak­ing their sur­round­ings” — not that she’s the first musi­cian with avant-garde asso­ci­a­tions to devel­op such inter­ests.

Björk’s par­tic­i­pa­tion in Fun­gi: Web of Life may also bring to mind that of Ste­vie Won­der in the now-obscure 1979 doc­u­men­tary The Secret Life of Plants. But Won­der pro­vid­ed only music to that film, not nar­ra­tion, while Björk seems to have done the oppo­site. It may be that her songs, which tend to have a cer­tain psy­che­del­ic effect in them­selves, would have dis­tract­ed from the won­ders of the fun­gal realm on dis­play. If you seek admis­sion to that realm, Moth­es notes that “Fun­gi: Web of Life is cur­rent­ly show­ing in five the­aters across North Amer­i­ca, includ­ing IMAX Vic­to­ria at the Roy­al B.C. Muse­um, with numer­ous releas­es sched­uled across the U.S. and the U.K. next year.” You can find a screen­ing at the film’s web site — and why not sched­ule a din­ner of champignons à la provençale there­after?

Bonus: Below you can watch biol­o­gist Mer­lin Shel­drake eat mush­rooms sprout­ing from his book, Entan­gled Life. Enjoy.

via Colos­sal

Relat­ed con­tent:

How Mush­room Time-Laps­es Are Filmed: A Glimpse Into the Pio­neer­ing Time-Lapse Cin­e­matog­ra­phy Behind the Net­flix Doc­u­men­tary Fan­tas­tic Fun­gi

A Young Björk Decon­structs (Phys­i­cal­ly & The­o­ret­i­cal­ly) a Tele­vi­sion in a Delight­ful Retro Video

Death-Cap Mush­rooms are Ter­ri­fy­ing and Unstop­pable: A Wild Ani­ma­tion

Hear 11-Year-Old Björk Sing “I Love to Love”: Her First Record­ed Song (1976)

The Beau­ti­ful­ly Illus­trat­ed Atlas of Mush­rooms: Edi­ble, Sus­pect and Poi­so­nous (1827)

Watch Björk, Age 11, Read a Christ­mas Nativ­i­ty Sto­ry on an Ice­landic TV Spe­cial (1976)

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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Who Is Killing Cinema?: A Murder Mystery Identifies the Cultural & Economic Culprits

in Film | December 14th, 2023

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Net­flix once deliv­ered movies not by stream­ing them over the inter­net, but by lit­er­al­ly deliv­er­ing them: on DVDs, that is, shipped through the postal ser­vice. This tends to come as a sur­prise to the ser­vice’s many users under the age of about 35, or in coun­tries oth­er than the Unit­ed States. What’s more, Net­flix end­ed its DVD ser­vice only this past Sep­tem­ber, after 25 years, occa­sion­ing quite a few trib­utes from the gen­er­a­tion of cinephiles for whom it played a major part in their film edu­ca­tion. In this moment of reflec­tion, many of us have looked around and noticed that some­thing else seems to have gone away: cin­e­ma itself, if not as a medi­um, then at least as a major force in the cul­ture. Who, or what, did away with it?

That’s the ques­tion movie Youtu­ber Patrick Willems inves­ti­gates in his recent video “Who Is Killing Cin­e­ma? — A Mur­der Mys­tery.” Today, he says, “every major hit movie is a $200 mil­lion fran­chise install­ment aimed at thir­teen-year-old boys, but a cou­ple decades ago, right along­side those block­busters were dra­mas and come­dies aimed at dif­fer­ent audi­ences, includ­ing adults, star­ring major movie stars.” Even if a dra­ma like Rain Man — not just the win­ner of Oscars for Best Pic­ture, Best Direc­tor, Best Actor, and Best Orig­i­nal Screen­play, but also the high­est-gross­ing film of the year — got the green light today, “it would be made for a frac­tion of the bud­get it had in the eight­ies, and would prob­a­bly go straight to a stream­ing plat­form with a one-week lim­it­ed the­atri­cal run to qual­i­fy for awards”.

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From behind this sor­ry state of affairs Willems turns up a vari­ety of sus­pects. These include Mar­vel, a synec­doche for the sys­tem of inter­na­tion­al­ly mar­ket­ed fran­chis­es based on known intel­lec­tu­al prop­er­ty that “put pleas­ing the fans as their top pri­or­i­ty”; “the death of the movie star,” the pres­ence of whom once got audi­ences into the the­aters to see movies for adults; Warn­er Bros. Dis­cov­ery CEO David Zaslav and oth­er high-pow­ered exec­u­tives with no appar­ent inter­est in cin­e­ma per se; and atten­tion-frac­tur­ing enter­tain­ment apps like Tik­tok. Willems’ line­up even includes Net­flix itself, which — despite its fund­ing the work of auteurs up to and includ­ing Orson Welles — he calls “large­ly respon­si­ble for bring­ing the idea of ‘con­tent’ to tra­di­tion­al media, of tak­ing movies and TV and flat­ten­ing them all into an end­less sea of gray sludge they just dump more and more into every day.”

“Have you ever tried to take a moment and reflect on some­thing you’ve just watched on Net­flix, only to have the end cred­its instant­ly min­i­mized in favor of some obnox­ious ad for what to watch next?” Willems asks in the ear­li­er video just above. “That’s con­tent, baby.” The rel­e­vant shift in mind­set occurred as ser­vices like Willems’ own plat­form, Youtube, “start­ed pri­or­i­tiz­ing the steady stream of con­tent over indi­vid­ual videos,” and “when Net­flix start­ed pro­duc­ing their own shows” in a man­ner geared toward binge-watch­ers. Once, “indi­vid­ual movies or TV shows mat­tered”; now, “the con­tent mind­set just drags tra­di­tion­al media down into a giant ugly pit, and it all becomes this homo­ge­neous goop just wait­ing to be half­heart­ed­ly con­sumed and dis­card­ed.” (Wit­ness the now-shab­by rep­u­ta­tion of “Net­flix movies,” no mat­ter how big-bud­get­ed.)

Both of these videos include quotes from no less a cin­e­mat­ic icon than Mar­tin Scors­ese, a high-pro­file crit­ic of the debase­ment of cin­e­ma into “con­tent.” Though he’s been able to do seri­ous work in the stream­ing era, Scors­ese was forged well before, hav­ing emerged in the late six­ties when, as Willems reminds us, “audi­ences had grown tired of overblown big-bud­get stu­dio movies like Doc­tor Doolit­tle” and “a new breed of small­er movies made by younger, inno­v­a­tive, inde­pen­dent artists arrived, led by Bon­nie and Clyde, The Grad­u­ate, and Easy Rid­er,” with the likes of The God­fa­ther, The Deer Hunter, and Scors­ese’s own Taxi Dri­ver to come. “Audi­ences went nuts for them, and they ush­ered in this new gold­en age of Amer­i­can film­mak­ing.” That was the direc­tor-led “new Hol­ly­wood”; dare we twen­ty-first-cen­tu­ry cinephiles, now that fran­chise block­busters are show­ing signs of com­mer­cial frailty, hope for a new new Hol­ly­wood?

Relat­ed con­tent:

The Decay of Cin­e­ma: Susan Son­tag, Mar­tin Scors­ese & Their Lamen­ta­tions on the Decline of Cin­e­ma Explored in a New Video Essay

Peter Green­away Looks at the Day Cin­e­ma Died — and What Comes Next

When Andy Warhol Made a Bat­man Super­hero Movie (1964)

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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