Cirrus@Austlit

'As COVID-19 continues to wreak havoc on lives and societies around the world, the likes of which we have never seen (except in a disaster movie or dystopian fiction), we wanted to investigate further the impact that lockdowns are having on film viewing. In these frightening times, what role does cinema play? Do we turn to art for a greater sense of human connection and understanding? Do we seek out films from the past, the present? How is film spectatorship impacted under these unique circumstances? How do we compensate for that lack of community that occurs in a theatre-setting? This issue’s COVID dossier aims to present a mosaic of readers’ journeys and trajectories during this time. A common theme is the role of new technologies and platforms in connecting audiences. Kristy Matheson discusses a fascinating program of experimental film put together by Mark Toscano on Instagram called “Remains to be Streamed,” which screens at specific times and days facilitating a sense of audience and ‘shared’ space. For many readers, streaming services and online video-chat tools have re-energised film viewing, and facilitated an exhilarating ability to self-curate. Djoymi Baker explains how watching a film during a pandemic means so many more ‘home-movie’ or ‘documentary’ moments where we see something in a film connected to our real-life – “a fleeting interruption or a deeply felt resonance.” Such a liminal experience is beautifully outlined in Alexandra Trnka’s piece on Chantal Akerman’s Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles, a film about isolation watched during isolation. For other readers, film viewing during this period has brought to the fore new perspectives, such as Robert Koehler’s fascinating reflection on Hollywood cinema of the 30s and 40s. It’s hard to say what ramifications the shift created by the pandemic will have on film viewing in the future, but it already seems clear that new doors have been opened.' (Editorial introduction)