Talez: “A lot of them have been running Kickstarter campaigns to purchase new digital equipment. I suppose in a lot of those cases it comes down to how much the community loves their theaters.”
dersins: “Well, it comes down to how much the community can afford to love their theaters, which is not the same thing at all.”
The march to digital puts further pressure on some small-town community theaters that have been struggling to finance the purchase of $70,000 digital projectors.
Those theaters are at risk of going out of business if they can no longer obtain film prints of movies. More than 1,000 theaters, about half of them independently owned, have not converted to digital. Some are turning to their communities to raise funds for digital equipment.
“Only wimps use tape backup. REAL men just upload their important stuff on ftp and let the rest of the world mirror it.”
― Linus Torvalds
When the popular discourse comes down to arguments that are based on consumption, marketing, personal opinion on quality, and cultural shaming, and where failures of the “enemy” are cheered as heartily as one’s own successes, the importance of the work that needs to be done and the financial and organizational support allocated to it are minimized. The access formats become a stand in for the preservation formats, both making the preservation formats seem bad and making is seem that the access formats should just be used for preservation. Not only does one have to advocate for the importance of preservation and the archive, but it is also an uphill battle against the idea that all digital formats are as unstable as a CD.
Many of us are exhausted from grieving over the dismantling of analogue technologies. Digital is not better than analogue, but different. What we are asking for is co-existence: that analogue film might be allowed to remain an option for those who want it, and for the ascendency of one not to have to mean the extinguishing of the other.
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