When we had undertaken the analysis of the previous decade we had dwelt in brief about the manner in which the amalgamation of technology into cinema is changing the contours of cinema viewing and how it is creating new revenue models for the Hindi film industry, 3 IDIOTS being the liveliest example of the kind.
However it was not anticipated that with the launch of the new decade suddenly India would take lead and announce to the world that it is ready to take the menace of piracy by horn. The clarion call has been made by STRIKER and it is going to be the first movie from the world of Hindi films that would simultaneously debut on the You Tube along with its release in the cinema halls. It has indeed preempted the move by makers of 3 IDIOTS who were planning to release it on You Tube after it was released in the cinema halls.
In one swipe the makers of STRIKER have struck a body blow to the illegal downloads, underlining the motif of the game of carom board which is characterized by the ability to strike the coin, and the confidence to hit bulls' eye with each shot. The confidence to release STRIKER simultaneously in cinema halls and on You Tube is an apt manifestation of the title of the film. For Indian film industry the launch of striker on You Tube is indeed a moment of disruption that would be quoted as significant milestone in the realm of entertainment. It could also become the catalytic factor for the government to expedite its initiative of broad-band connectivity, as there is no other source that binds the country than cinema in one thread.
It would not be out of context to inform that on You Tube the first official full-length feature film was released in 2007 and various studios from Hollywood have entered into partnership with You Tube to flirt with this genre. While the experience of watching the movie on You Tube may be that salivating as it is of going to cinema halls, the sheer fact that one can watch or record the movie legally to view it within the comforts of home, while the movie is still mint fresh, is an idea that has probably coaxed the movie makers to warm up to You Tube.
Another indication of the industry warming up to embrace technology is manifest from the takeover of stakes in the Fame Labs cinema by Inox. Inox has been motivated to take this step probably guided by the immense profits from showing AVATAR in 3-D and the acquisition of stake in Fame Labs could be precursor for conversion of more cinema halls into 3-D exhibition centers. Indeed technology provides options for the associated partners in the world of cinema to experiment with the genre of films to enrich and enliven the whole experience of cinema viewing.
Cinema watching in essence is the spectacle on a grandiose scale with the ability to awe and mesmerize, and it can be done only on a regular basis if the tools of technology are used as facilitation devices for cinema viewing.