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Fandor (film site)

From Wikipedia, the free encyclopedia

Fandor
Subscription film streaming service, video sharing platform
FoundedMarch 2011
HeadquartersSan Francisco, California, United States
Key people
Larry Aidem
Chris Kelly
Dan Aronson
Jonathan Marlow
Albert Reinhardt
David Hudson
Felice Oper
ParentOur Film Festival, Inc.
Websitewww.fandor.com

Fandor is an American subscription film viewing service and social video sharing platform.

Headquartered in San Francisco, California, the company was established in 2010 and officially launched on March 9, 2011 at the South by Southwest festival and conference in Austin, Texas.[1][2]

Fandor "specializes in independent films, classics, silent films, foreign films, documentaries and shorts". Most of Fandor's more than 6,000 films are outside mainstream channels and hail from a variety of cultures, time periods, and genres.[3] The service streams content to home theaters, through devices like Roku,[4] computers, mobile devices, and tablets, like Apple Inc.'s iPad.[5] It is also available through Sling TV as an add-on.

In September 2013, at the Toronto International Film Festival, Fandor announced that the site was launching to audiences in Canada.[6] In 2018, the company laid off its entire staff and sold its assets to an undisclosed investment company.[7]

YouTube Encyclopedic

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  • ✪ The Heady Joy of Meta Movies
  • ✪ Fandor, For Movie Fanatics
  • ✪ How Home Movies Capture the Beauty of the Everyday
  • ✪ Denis Villeneuve: Directorial Trademarks
  • ✪ Seeing Patterns in the Films of Tsai Ming-liang

Transcription

Movies are an illusion. For a short period of time, we are expected to buy in to these fictional worlds and forget that these are actors in front of the camera…. Well, most of the time. This is metacinema. Metacinema is a style of filmmaking where the film deliberately informs the audience that they are watching a movie. While metacinema has become much more prevalent in recent times, meta instances date all the back to the early 1900s. The Great Train Robbery completely broke the rules of fictional cinema by having a character firing a gun directly into the camera. This calls attention to the fact that we are watching a film and is therefore considered meta. The most common form of metacinema includes a character directly addressing the audience, alerting us that they know we are watching. In doing so and breaking the fourth wall, the characters to supply us with information that we otherwise wouldn’t receive. Here's Margot Robbie in a bubble bath to explain. And even if a character isn't onscreen, they can still break the fourth wall and address us through voiceover narration. "That's how she got to the same party as me. I skipped something. Damnit! This whole robot that I made a big deal and then like totally forgot. This is bad narrating." Movies like Deadpool take things a few steps further on the meta scale by actually commenting on the making of the film. It's a big house. Funny I only see two of you. It's almost like the studio couldn't afford another X-Man. Deadpool makes us very aware that we are watching a product made for viewing and does not expect us to buy into any of the illusion. Movies can also call out the actual filmmaking with various visual gags. "What the hell am I looking at!? When does this happen in the movie!?" "There's a sound guy, there's a script supervisor..." "Wait a minute. I'm not supposed to lose. Let me see the script." While these are all very on-the-nose examples, some movies push meta boundaries very subtly. "We're reviving a cancelled undercover police program from the '80s and revamping it for modern times. You see, the guys in charge of this stuff lack creativity and are completely out of ideas." These movies may not obviously break the fourth wall, but they use various tongue-in-cheek moments to comment on the film. "Are you suggesting that someone is trying to make a real-life sequel?" "Stab 2? Who would want to do that? Sequels suck." But perhaps the biggest question surrounding metacinema is "why?" Why do filmmakers choose to call attention to their films? Why ruin the illusion that makes cinema so unique? Well, sometimes direct addresses can cause us to be more invested in a film by thoughtfully including us. "Look, I know you're not following what I'm saying anyway, right? That's okay. That doesn't matter." More often than not, it seems that filmmakers use metacinema to teach us a lesson. Sometimes a lesson about ourselves. This is most notable in the horror genre. Movies like Funny Games use self-awareness in order to criticize the audience for what they expect. "Do you think it's enough? I mean, you want a real ending, right? One with plausible plot development." And the critique isn’t always just aimed at the audience. There are certain rules that one must abide by in order to successfully survive a horror movie. For instance, number one: You can never have sex." Movies like Scream and The Cabin in the Woods brilliantly take aim at their own genre. "The virgin's death is optional as long as it's last. The main thing is that she suffers." And this doesn't only apply to the horror genre. Movies like They Came Together target romantic comedy clichés. "Well, Joel is kind of the typical romantic comedy leading man. You know? He's handsome, but not in a non-threatening way." "Yeah, I can see that." "And Molly is the kind of cute, klutzy girl that sometimes will drive you a little bit crazy, but you can't help but fall in love with her." And 22 Jump Street uses key moments to attack Hollywood’s obsession with sequels and rehashed material. "So now this department has invested a lot of money to make sure that Jump Street keeps going. We've doubled their budget. As if spending twice the money guaranteed twice the profit." "Like that's gonna work." Metacinema is fun and always entertaining in the way that it flips expectations and involves us in the film. But more importantly, it teaches us a little about cinema and even a little about ourselves. "That's just lazy writing." You're still here. It's over. Go home.

Contents

Business model

Fandor employs a revenue-sharing business model, whereby a portion of all subscription revenue is paid to the filmmakers and distributors whose content Fandor licenses.[8]

Fandor did co-licensing agreements with MoviePass and Costco in 2017 and 2018.

Keyframe

Keyframe was the digital magazine of independent and international film hosted on the Fandor site.[9] It published interviews, film criticism, video essays, and other scholarly works pertaining to the art of filmmaking.

On May 1, 2012, journalist David Hudson, formerly of GreenCine and Mubi, joined Keyframe as chief correspondent.[10]

In May 2017, Fandor ceased all Keyframe operations.[11] David Hudson and other editorial staff left the company.

History

Fandor was founded in 2010 in San Francisco, California, by Dan Aronson, Jonathan Marlow, and Albert Reinhardt.[12] Former Facebook chief privacy officer Chris Kelly has been a member of the Fandor board of directors since 2011.[13]

In January 2014, Ted Hope, independent film producer and former director of the San Francisco Film Society, joined Fandor as CEO.[14] In January 2015, Hope departed to run Amazon Studios' original film division, and Chris Kelly became interim CEO. In September 2015, Larry Aidem, former Sundance Channel head, joined Fandor as CEO, taking over from Kelly.[15]

In September 2018, Larry Aidem stepped down as CEO with Chris Kelly taking over as CEO.[16] Fandor subsequently failed to get a round of funding to secure its financial obligations. In December 2018, the company laid off its entire staff and the assets were sold to an undisclosed investment firm.[17][18]

See also

References

  1. ^ Kopytoff, Verne G. (March 9, 2011). "Hoping to be the Netflix for the Sundance Crowd". The New York Times. Retrieved March 28, 2013.
  2. ^ Kenny, Glenn (April 7, 2017). "Fandor: A Steaming Rabbit Hole Worth Falling Down". The New York Times. Retrieved September 17, 2017.
  3. ^ Ebert, Roger. (June 8, 2012). "Movies don't stream themselves." Chicago Sun-Times. Retrieved March 28, 2013.
  4. ^ Sexton, Timothy. (November 10, 2011). "Tech Watch: Indie On-Demand Movie Site Fandor Adds iPad App". IndieWire Retrieved March 28, 2013.
  5. ^ Lange, Maggie. (January 19, 2012). "Tech Watch: Indie On-Demand Movie Site Fandor Adds iPad App". IndieWire. Retrieved March 28, 2013.
  6. ^ Vlessing, Eran. (September 9, 2013). "Fandor to Launch Canadian Streaming Movie Site." The Hollywood Reporter.
  7. ^ https://www.indiewire.com/2018/12/fandor-lays-off-staff-sold-new-company-1202026535/
  8. ^ Kung, Michelle. (March 9, 2011). "Fandor Aims to be Netflix for Indie Films". The Wall Street Journal. Retrieved March 28, 2013.
  9. ^ "Fandor Launches Keyframe as the Digital Magazine of Independent and International Film". (Press Release) Yahoo! Finance. Retrieved March 28, 2013.
  10. ^ Singer, Matt. (May 1, 2012). "Master Aggregator David Hudson Joins Fandor". IndieWire. Retrieved March 28, 2013.
  11. ^ https://www.indiewire.com/2017/05/fandor-mainstream-keyframe-closed-backlash-exclusive-1201815695/
  12. ^ Thompson, Anne. (March 9, 2011). "Fandor Streams Indie Video: Sundance Meets Netflix". IndieWire. Retrieved March 28, 2013.
  13. ^ Appelo, Tim. (March 9, 2011). "New Film Site Fandor: A Cross Between Sundance and Netflix, Only Smaller". The Hollywood Reporter. Retrieved March 28, 2013.
  14. ^ McNary, Dave. (January 8, 2014). "Ted Hope Joins Independent Specialist Fandor as CEO". Variety. Retrieved January 8, 2013.
  15. ^ "Larry Aidem Joins Fandor as CEO (Exclusive)". Variety. Retrieved 2015-10-07.
  16. ^ "Larry Aidem Steps Down as Fandor CEO to Join Reverb Advisors". Variety. Retrieved 2018-09-30.
  17. ^ https://www.indiewire.com/2018/12/fandor-lays-off-staff-sold-new-company-1202026535/
  18. ^ https://www.thewrap.com/fandor-shuts-its-doors-after-selling-off-assets-to-an-unknown-buyer/

External links

This page was last edited on 13 March 2019, at 13:05
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