It has been exactly a month since the sudden closure of indie and second-run cinema operator The Projector. The closure may have provoked widespread despair and outrage online, however performative or overwrought, but for the sake of public education this discussion must now move beyond narratives marked by self-regarding romanticism, naive sentimentality, and uninformed anti-capitalism.
What different things can we learn if, for example, we took a production of culture perspective? What if we treat watching an indie or foreign film in a shabby chic cinema as an end result of the interplay between organisational structure, industry culture, market forces, audience preferences, and contractual agreements and unwritten norms within the wider movie industry? That is: What does it really take to screen a movie in a cinema? And if a cinema operator like The Projector fails, whose fault is it really?
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Woud've been appropriate and poetic, but The Projector didn't end its run with a screening of Goodbye, Dragon Inn |