Thoughts on the future of film

Cinema is not a single medium anymore, it is a medium that brings people together. I think, cinema changed from a special and magical medium to a social medium which became ‘normal’ in our society. In times like Netflix or Amazon Prime we do not have to wait for a certain movie and we are not bonded on the film schedule. We brought cinema to the living room,  so that going to the cinema became more than a social event like having a date, eating popcorn together or having a chilled night than a big event that is planned weeks before.
Having the opportunity to watch a movie in a cinema whenever you want to made cinema and film to nothing special anymore. It is not a big deal to go to the cinema and we are not surprised anymore when we see an action, science fiction or western movie. So, it gets more and more seldom, that we are going to the cinema for a particular film because we do not have to wait for long until we can watch those movies at home on our sofa. We do not think that movies are something magical anymore.

Although, we do not have to watch the whole movie at once if we have not enough time. We do not take the risk to pay for something, we do not really like. If we are bored or chose the wrong film, we are just able to switch to another one without any consequences. Also, we are not forced to watch the whole movie. We can just stop it, if we have other plans or obligations we are able to just stop the film and continue watching whenever we have time to.

Additionally, it is easy to replay movies from former times or of any genre you can imagine. We have so many film genres and so many possibilities to produce films. It is nearly overwhelming and sometimes I think we have to many possibilities. It is not like there is a specific type or genre like the in the 1940s the Film Noir or the German expressionism films.

Nevertheless, I think, the future of film is different. There are already a few cinemas in Europe, where the viewers can vote for their favorite movie and it is going to be shown in the evening. Also, there are interactive movies where we can chose what is going to happen next, so that a movie is going to be an unique event and probably this evolution will bring people back to the cinemas. Also, there is another new technology: the 4D cinema, where the viewers are sitting in moving and vibrating chairs which supports the special effects. Also, 3D cinema is getting more popular and watching a movie – no matter if we are in a cinema or our living room – gets even more real.

Another point it the price. Over here in Singapore going to the cinema is one of the cheapest things to do. In an expensive city going to the cinema is one of the cheapest things to do, so that it is a popular pastime. But in European countries going to the cinema is expensive. That is probably one of the reasons why especially the younger generation is increasingly considering whether it is worth it to go to the cinema, if it is much easier and cheaper to invite friends home. That shows, that especially in European countries going to the cinema is still a unique event, but it is not about the particular movie and more about the social event itself.

In conclusion I think, that cinema nowadays is more about simulating uniqueness under the circumstances of maximum standardization of the experience. And I think, films will get more specialized on visual effects with the aim, that watching a movie becomes a real-life experience. But at the same point I think, that cinema gets more and more online. The institution cinema will increase and the focus will get more and more to the online steaming medias which is also caused by the fact, that it is easy to transfer films online and nobody has to deal with heavy and impractical film-rolls.

The Femme Fatale – A woman without conscience?

The question about women in Film Noir is always a question of what is seen on the screen as a woman and what the woman represents in the ideology of the film and how this is interpreted. The image of women in the film Noir is very diverse and can hardly be described as a single image, rather, there are different images of women. Mostly, a crucial characteristic, namely the clear demarcation from the conventional image of women, the good housewife and mother, as well as the Film Noir also distinguishes itself from other genres, especially by its different and abstract character.

Double Indemnity is a prototypical Film Noir. It deals with crime, love and intrigues. The Film Noir, which emerged in the 1940s in America, tend to revolve around heroes who are unusually vicious and morally questionable. The femme fatale is the character most likely to be associated with Film Noir, though by no means all the classic Film Noirs show this character.
In comparison to the classical Hollywood films female characters in Film Noir have finally the opportunity to determine their own movements and statements.
The decade of Film Noir starts when men returned from war and women had to go back from their nearly independent roles to their roles as housewives, even if they didn’t want it. So, the Film Noir dealt with the issue of the powerful woman and her role in family and society.
With doing so, the role of women in films changed as well. What before was shown as weak, ineffectual figures which needed the male hero’s affection and protection turned to the powerful, provocative woman who was able to seduce men; the femme fatale.
As mentioned before, the most profound change for women in the development phase of Film Noir was, at least temporarily, their entry into the labor market. While the men were at war, the women who remained behind took over their work on the ground. After the return of the men, there were huge conflicts which, among other things, led to an unusually high divorce rate for this time. Despite, attempts to prioritize certain jobs for returning veterans, and to displace women from the labor market or at least low-profile jobs, many women insisted on their newfound right to pursue a job. Thus, it also becomes clear that the femme fatale is not only about stopping the corruption of men, but also to keep their independency and her strong status in the current society.


That leads to two prototypes at that time: On the one hand, there is the good girl, who is characterized as reliable, honest, loyal and obedient she went back to her role as a housewife and mother. She is kind of represented by Ida Corwin in Mildred Pierce (1945). And on the other hand, there is the femme fatale, the evil, sexually attractive, often self-confident, quick-witted woman who does not seem to be trustworthy, but who is so fascinating because of that. Phyllis

Dietrichson (Double Indemnity, 1944) is shown as a prototypical femme fatale. She has a dominant demeanor, a stunning personality, is independent and beautiful. She is also a rebel at the same time and always follows the latest fashion trend. Also, she is a plotting character and is playing with men and their life to achieve her own aims, what is a typical plot for Film Noir as well. Also typical is, that she convinces others to help her – here she convinces Neff to help her to murder her husband.  For her it is easy to wrap men around her finger and she is used to always getting what she wants without putting so much effort in it. Nevertheless, the main topic both typed of women must deal with is the patriarchy and to fight against sexual harassment at their working place.


In conclusion, the Film Noir reflects the uninterrupted ideological struggle within the patriarchy for the control of female sexuality and the femme fatale is forced by the society to always seem invulnerable, but it loses the opportunity to experience the sensation of sensibility in all its facets and is just reduced on her outward appearance in fact she is very smart and forward-looking even if it is not for the best reasons.  Also, the femme fatale is an ambivalent character who works for the rights of women, but at the same time for their own pleasure and their own advantage.




Grossmann, Julie: “The Proletarian woman’s film og the 1930’s: contending with censorship and entertainment.” In: Rethinking the femme fatale in film noir ready for her close-up. New York 2009: p.176.  b

Schrader, Paul: “Notes on the film noir”. p.581-591.