Netflix is increasingly designing films and series for distracted, second-screen viewers. DW's Scott Roxborough asks what it means for storytelling, visual language and the future of cinema as an art form.
Sure, exposition has always been a thing, especially in low-effort media. But I would say movies and TV are at a historic low-point in visual storytelling. For a growing portion of it, the picture might be pretty to look at, but it’s not where we get any important information about the plot. I’m not saying it’s good or bad, but it’s definitely become a feedback loop.
My wife works from home. She’ll frequently put an amazing movie on in the background while she works, then say the movie was “just okay” and never watch it again because she’s “already seen it.” Why would any producer waste their effort on the visual part if half the audience isn’t watching?
Sure, exposition has always been a thing, especially in low-effort media. But I would say movies and TV are at a historic low-point in visual storytelling. For a growing portion of it, the picture might be pretty to look at, but it’s not where we get any important information about the plot. I’m not saying it’s good or bad, but it’s definitely become a feedback loop.
My wife works from home. She’ll frequently put an amazing movie on in the background while she works, then say the movie was “just okay” and never watch it again because she’s “already seen it.” Why would any producer waste their effort on the visual part if half the audience isn’t watching?