Digital: Cinema’s divisive Phoenix.

A big buzz in the film industry these days, mostly amongst critics and purists, is whether or not, in the age of Pixar and Avatar, traditional cinema still exists.  Does printing your shots on 35mm make them any different than a digital projection?  It enriches the colors, it enhances the experience, and, in my opinion, it limits the audience.  Sure, traditionalists may cry “Off with his head!” at anyone who dares suggest a movie can be enjoyed outside the confines of a movie theater.  However, it’s impractical.  Movie theaters enhance the experience, there’s not doubt about that, but it’s absurd to think a typical person not being shown the movies for free can afford to enjoy every film in a multiplex.  It’s also absurd to think they can’t still enjoy it at home.

Since the invention of such devices as the Beta, VHS, and DVD we’ve been trying to bring the theater experience into the living room, and we’ve gotten progressively better at it.  If you’ve got a dark room, a gigantic television and a Blu-ray player, you’ve almost effectively recreated the experience.

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Are women trapped in film’s hurt locker?

The always engaging Manohla Dargis of the New York Times recently wrote a brilliant article about what Kathryn Bigelow’s Best Director win at the Oscars means.  Dargis’ thorough, bullet-proof essay concludes that women in film are probed about their personal life more than men as well as “ghettoized in romantic comedy.”

This got me thinking about some of those recent movies, both romantic and comical, and just how they view women.  Let’s take a look at two of 2009’s biggest films: The Hangover and The Twilight Saga: New Moon.

At a glance, these films may appear to have absolutely nothing in common.  On closer analysis though, they both share some kind of anti-feminist philosophy.   The Hangover operates under the philosophy that women are either a nuisance, or just total bitches, while New Moon treats its female “heroine” like a junkie looking for a testosterone fix.

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