The Curator’s Dilemma

We live in a world with immediate access to any content we want, whenever we want it–and a lot of it. With cheap production tools and omnipresent distribution outlets, anyone with a laptop can make films, and a lot of people seem to want to.

Hot on the heels of this expansion in our content supply comes the debate surrounding how best to sort our creative surfeit. It goes without saying that independent filmmakers are going to continue to increase in numbers. Movies are going to continue to compete for audiences on yet more distribution platforms. We – as an industry – thus need to develop good systems to help promote their discovery, and much of the discussion around these systems has centered on DIY distribution and marketing strategies. But there is a fundamental part of the puzzle that is missing, put to evidence by the fact that most filmmakers are having difficulties – still – finding their audience.

Curation has become fundamental to the issue of audience building. Indeed, it can serve a crucial role in corralling attention spans in what Lance Weiler dubs the “digital attention economy”. To that end, a new crop of curators have come to the fore in an attempt to create new access points for filmmakers. But how are their efforts helping to further promote, support and sustain independent filmmakers, if at all?

NEW CURATORS

Among the most prominent contemporary curators is Gavin McInnes, co-founder of Vice and, more recently, streetbonersandtvcarnage.com. A maverick curator/producer hybrid, he is devoted to a simple and intuitive premise: “I basically do exactly what I’ve always been doing: making jokes and picking fights [and showing] stuff I like.”

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