As a computer scientist and film producer Stefan Kluges’ priorities lie with two topics: Internet and films. As one of the pioneers of Open Source film making, he carries us forward on a short journey through the development of the film industry and ventures a view into its future – that lies within the Internet.

HISTORICAL: THE FEAR OF THE VIDEO RECORDER

In the 1940’s the television was the avowed enemy of the film studios, due to feared losses of cinema takings. When the  television was introduced into living rooms, the audience could determine the place, the frequency of use and the programme they wished to watch, for the first time. Studios profited from the possibility of a secondary utilisation of their films on television and at the same time, a market for television productions developed. In the 70’s, film studios tried to prevent Sony, in vain, from selling the first video recorders. The devices were described as “a billion-dollar industry, based on stealing private property” and four of the nine judges of the US Supreme Court found them illegal. With the increase in sales of video recorders over time, the consumer had the possibility of recording what they wanted, when they wanted to. The sales of video cassettes and DVDs soon became more lucrative for studios than the cinema business. Explicitly for the video market, it became possible to produce niche and low budget films. The developers were worried about their, up to then, successful business model, profit only occurred for those that gave the customer what they wanted: the ability to decide for themselves.

DEPARTURE MOOD: THE DIGITAL AGE BEGINS

Today the technology is practically at the disposal of each Internet user, allowing the user to manipulate and decide the content for themselves. For many years cutting, re-mixing or splicing has taken place, for example on You Tube, the popular “Internet television station” which was sold in 2006 for $1.65 billion dollars—and the first film producers seized the chance that this medium offered them. As Thomas Bechholds and I went to publish our first film production in 2004, we had two options: licensing to a television station or an independent publication on the Internet. Production took place completely digitally, partly on consumer equipment—we had little financial pressure and therefore freedom of choice. In order not to see our documentary film disappearing into television archives, we finally published it on the net, under a license,  which permits downloading, copying, viewing and altering the film for non-commercial purposes. As my creative roots  lay in the digital culture, it made sense to me, that my work was freely accessible on the Internet.