currently viewing: 2.0mission
our mission is to purge the existing canon and transform it into multiple, categorised canons
issues with the existing canon
the canon has remained mostly unchanged for decades, with the majority of films represented being classics from the 1930s - 1970s. Many of these old, canonical films are of significant importance to cinematic history, however, their status as these great works of art that should be aspired to could have a stifling impact on the creativity of current and future filmmakers. Most of these films are also directed by white, male filmmakers. While these films dominate the canon, many important voices and perspectives are being overlooked.
prestigious award ceremonies and critics have too much influence on the canon. The audience’s response to a film is often considered secondary to these opinions, which is reflected in canonical polls. The voters of many well known film polls are critics, film scholars and filmmakers, whose choices may not reflect the opinions of the general viewers.
we are advocating for an expansion of what film is and what it can be.
The canon fails to recognise how broad film can be. Most canonical films are narrative feature length films, with only a few short films, animations, and documentaries being included.
social media platforms and streaming services have rapidly changed the media landscape, yet the canon has not adapted to reflect this change. Platforms such as YouTube and TikTok have made creating, sharing and viewing films easier than ever before, allowing more people to participate in filmmaking and viewing. Films created for and shared on social media should be acknowledged, and not disregarded simply because they aren’t in keeping with traditional filmmaking methods.
The division between the existing canon, and the canon 2.0
The inevitability of change must be acknowledged, and the presence of technology must not be shunned. We must progress forward with society, paralleling the world's shift towards online streaming and viewing. In order to do so, we must acknowledge and recognise what is seen as works of the past, and works of the now. The year that internet users could finally stream video content (1995) is the divider that between films that have had their time and must remain in previous canons, and the films that have shaped this new generation and era, and must now have their moment. In order to glorify and applaud this new collection of works from the current era, we must acknowledge and recognise the canons that have paved the way for us. The films listed in those will forever be remembered, and thus we must cease from giving them a praise they have already won over. We couldn’t possibly compare films from before the era of new technologies, streaming, and social media, to what has been created in modern times. We must come to accept that the accessibility of both creating and viewing has drastically changed over time, and therefore we must understand the advantages and disadvantages presented to films released after 1995, that weren't given to those released before.
Canons cannot not be stuck in the past when the very thing that is being ranked is moving rapidly into the future, and constantly expanding and developing. The canon 2.0 itself must update with society, as it is a list made by the people, for the people.
