A renewed sense of focus foreshadows current goings-on in the world of Hope Lies at 24 Frames Per Second. I type this collection of thoughts at the end of a busy week. Like some kind of Hollywood cliche the opening beats of 2014 have brought with them all manner of new opportunities. It’s very exciting.
Following on from what was said in last week’s Editorial, I’ve been working towards building a greater, more defined identity for the site.
First up is a move towards greater emphasis on home video related material. This will be most prevalent in the first half of the week, with Monday Blu(e)s and DVD now to be joined by a second, more thorough piece on a specific title, as well as other bits. This move is reflective of the temporally differing nature of the digital medium from print, and the manner in which we work to a different timescale to the one ground in tradition. In short, a film reaching DVD or Blu-ray is just an occasion worth celebrating and marking as a film opening theatrically, or playing a festival.
I’ve always wanted to do a regular piece on the US’s Criterion Collection, but with excellent resources already online (The CriterionCast being the most notable) I had worried that it might be moot, but figure it’s worth giving a shot, in the hope that I can bring something worthwhile and exciting to the table. A similar article has appeared in Periodical thus far, to great success, so it ought to translate well. The first of such articles will be live on Wednesday to coincide with Criterion’s monthly announcement, which takes place on every 15th of the month.
Having a focus point for a film website is important. For most of Hope Lies’ life it was accompanied by the strapline “French Cinema and Silent Film In The Age Of The Digital”. While that has since been abandoned as an official attachment, a quick look over the most recent wave of articles on the site suggests that the intent of that fleeting manifesto of sorts is still alive and well, and I’m keen to actively pursue that moving forward in 2014, though not at the behest of coverage of contemporary issues in cinema. Theatrical reviews will remain in place, with the hope being that that will fill out the latter half of the week on the website, with the intention being to surround particularly notable releases with further supporting material (this week’s release of The Wolf Of Wall Street might be marked with a second piece on a related note, for example). I’m hoping that Notable Occurrences, which launched this week with an essay on the the single crash of cymbals in The Man Who Knew Too Much, will become a weekly feature too.
The hope is that this restated sense of emphasis keep things fresh.
Adam Batty – Editor
This week’s Criticwire Survey. On Off-Limits Language.