Film educators nationwide are reporting a growing challenge in their classrooms: a significant number of students are struggling to engage with and complete feature-length movies assigned for their studies. This phenomenon points to a broader shift in attention habits, posing questions about how future generations will interact with traditional cinematic narratives. Despite these academic hurdles, a segment of the younger demographic, often referred to as the 'Letterboxd generation,' demonstrates a keen enthusiasm for moviegoing and film discourse.
A recent investigation by The Atlantic, based on interviews with two dozen film studies faculty members, brought this issue into sharp focus. These professors recount numerous instances where students exhibit difficulty concentrating during film screenings, frequently checking their mobile devices, and subsequently failing to grasp fundamental plot points or thematic elements. One particularly telling anecdote came from Professor Jeff Smith of the University of Wisconsin Madison. He recounted how, after watching François Truffaut's 1962 classic 'Jules and Jim,' a substantial portion of his class incorrectly identified key plot details, confusing historical settings and characters not present in the film.
The impact of this diminishing attention span is so pronounced that some instructors have resorted to modifying their curricula, asking students to view only selected segments of films rather than their entirety. This mirrors similar adjustments being made in high school English departments, where comprehensive literary works are now often approached in excerpts. The trend suggests a pervasive change in how younger audiences consume long-form content, whether visual or textual.
Yet, amidst these concerns, there's a counter-narrative emerging from Hollywood. Despite the challenges faced in academic settings, Generation Z has shown a surprising propensity for embracing the communal experience of cinema. Their active participation on platforms like Letterboxd, an online social networking service for film enthusiasts, indicates a vibrant, if perhaps differently channeled, passion for movies. This engagement has even been credited with contributing to the unexpected box office success of several films recently.
As Northwestern professor Lynn Spigel succinctly put it to The Atlantic, those students with a genuine, intrinsic dedication to the art of filmmaking continue to immerse themselves deeply. This suggests that while broader trends may indicate a shift in general attention, a core group of passionate cinephiles remains committed to the detailed study and appreciation of film, providing a hopeful outlook for the future of film scholarship and appreciation.
