The Burnt Orange Heresy

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Paintings and movies can both be art or trash, and, in a completely separate binary, they can both be worth millions or pennies. Both forms of expression struggle with the balance of culture and commerce. But in one very important way they are opposite, an element that is literally material. The value in movies is in the experience of watching them, whether on film or in a digital print. The audience is unaware of the particulars of the mechanism of delivery; indeed, one of the great pleasures of film is that it is immersive, designed to be seen on an enormous screen in a dark room so that the line between the art and the audience is nearly dissolved. But for a painting or drawing, the value, the monetary value anyway, is in the unique distinction of the object. Try asking the Metropolitan Museum of Art whether they would swap a Picasso for an exact digital replica of the original. For this reason, the premium attached to the physical object is more important, at least when it comes to price, than the aesthetic merits of the image. A movie is made by dozens, maybe hundreds of people, many of whom never see each other. A painting (except for the high-end conceptual variations) is made by one person whose individual touch contributes immeasurably to its authenticity and value.

Written by

Movie critic, corporate critic and shareholder advocate, critic/editor at @ebertvoices @moviemom, and #corpgov #movies and editor at @miniverpress

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