Creativity in FilmCreativity is much more than just the ability to create.  It also encompasses an idea’s novelty , its usefulness or applicability, and its ability to evoke a reaction.  In the field of film the reactions are emotional.

Using the above definition, creativity in film involves the emotional reactions, and thus interactions, of the producers, directors, writers, audience, critics, and industry peers.  In fact, creativity in filmmaking is the sum of interchanges between those who make the film, those who receive the film, the film as a product, and the film’s relationship to its subject matter.  Each of these elements plays a part in debating a film’s worth.

It is imperative to note how the Internet and social media affect the relationship between the film-producers and the public.  In earlier times, the only real method of public interaction with a movie studio was through box office sales and word of mouth.  Now, networking groups, blogs, fanzines, and websites place the consumers directly in contact with the people making the product.  Because of the speed and ease of such communications, ordinary people now have the power to alter a film while it is still in development.  For now, most filmmakers do not welcome yet another source of input in their work.  They are critical of the general public for its lack of creativity and relying on familiar concepts.

Another way to illustrate the relationship of a product with its reception is through the interactions between three bodies.  The first body is the domain in which a new product is made.  It is the subject matter within the current cultural norms, the actual body of thought, if you will.  The second body is field of the domain.  It includes those who work in plus the ones who react to the domain.

Examples are: scientists, researchers,  publishers, luminaries, and, in the case of films, the viewing public and critics.  The third body is the creator of the product.  In this system, the field chooses what has value in the domain, while then the domain and the field influence the creator.  Such structures can exist in any subject area and some subject areas might be more prone to change than others.

This model of creativity is especially applicable to the world of film.  In movie production there are numerous gatekeepers and judges, even when the public is excluded.  Film production has an internal filed as well as an external one, where producers, executives, and notable peers evaluate a product long before its release.  This is the challenge that filmmakers face: maintaining creativity in an overregulated industry fraught with critics and obstacles.