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But his comments are no cause for alarm for the cinéphile.
While in the US movie tickets sold have declined slightly over time (not including 2018), box office takings are still growing strongly.
For example, something that is made for a TV-sized screen can afford to include a great deal more movement of both the camera and subject, a style virtually synonymous with made-for-TV productions like music videos.
Although this style has had an influence on cinematic aesthetics in the late 20th and 21st centuries, it is still far less prominent in large-screen than small-screen productions.
It thus makes perfect sense that made for Netflix movies would not be included in Cannes.
There seems to be something anthropologically appealing about watching spectacles in large groups; possibly, as French cultural theorist René Girard argues in works like Violence and the Sacred and The Scapegoat, all culture emerged out of collective ritual spectacles.
While cinema has always occupied a precarious position between art and entertainment — one of the fascinating things about it, as the French philosopher Alain Badiou argues in Cinema — television has always been firmly located on the entertainment end of the spectrum.
Its primary function was historically to stream ads into the viewer's private domestic space, interrupted from time to time by the thing that TV programmers call "content." Even though "narrowcasters" target a more specific audience through subscription and therefore don't need to run ads, services like Netflix still emerged from television and televisual aesthetics, with the "content" produced to be seen via television screen.
If, however, Sarandos' claim that the future is Netflix proves to be true then things are far stranger, in the 21st Century, than they seem.
Ari Mattes is a lecturer in media studies at the University of Notre Dame.