I can’t speak for everyone, but here in the UK, it feels like things are starting to unravel. Not in some grand, apocalyptic sense but in the slow erosion of the basic norms and rituals that hold a society together. One reason I feel this might be the case is that I recently spent a week in Geneva.
The contrast to the UK was striking. In Switzerland, there’s a palpable sense of social cohesion. The streets are clean. Graffiti is rare. Public transport runs like clockwork — and is, for the most part, quiet and respectful. I struck up conversations with strangers in the park and was invited to play chess with them. A tour guide even noted this collaborative mentality during a day trip to Chamonix when he espoused Switzerland’s efforts to unify its people through mandatory military service, direct democracy, and a general sense of the country being something its population own, not just reside in.
Back home in the UK, that sense of shared ownership feels diminished. And nowhere was this more obvious to me than in a recent visit to the cinema — a place that, oddly enough, I think serves as a telling microcosm of our broader social fabric.
I went to see Thunderbolts* (don’t worry, no spoilers) and had to shout at someone mid-film.
Now, this isn’t a call to arms about movie etiquette per se, though etiquette is at the heart of the matter. Rather, it is a piece in the vein of the philosophy of cinema. Not cinema as in the medium of film but — and somewhat echoing Smith’s work on the medium of books in Portable Magic — cinema as the physical building and the experience of cinema-going.
I used to thoroughly enjoy the cinema. Growing up in the wilds of Devon, unless one was into fishing or drinking scrumpy in a barn, there wasn’t a lot to do before you could drive somewhere more interesting. However, I could take a bus, make a 20-minute journey, and go to the cinema. To a young me, that was always special. Hell, I even went to see 50 First Dates at the pictures (which, for an Adam Sandler romcom, is surprisingly acceptable). There was just something about the decorum of it. The ritual of paying for the ticket. The little thrill of sneaking in snacks bought from somewhere else. The finding of your seat in the dark. And, most importantly, the formality and rules once the film starts. It is this last part that, I think, really made it an experience. No talking. No annoying people around you. No making unnecessary mess. Turning your phone off or setting it to silent mode. All these rules exist to both avoid irritating other moviegoers and to help you focus on what you’re meant to be focusing on: the movie.
These aren’t just arbitrary codes of conduct. They are, in a sense, part of what philosophers from Rousseau might call a “social contract.” A shared agreement, albeit implicit, about how we ought to behave to allow others to enjoy the same freedoms we wish to enjoy ourselves.
These rules are still in place today, mind you. And just like back then, there are reminders before the movie gets going about how to behave. However, if you’ve been to a cinema recently, you might not know it. Cinemas are now noisy, with people constantly talking in hushed or not-so-hushed tones. People will snatch glances at their phones. Others will rustle around with bags of food or clothing or whatever in a way that defies logic and certainly the notion that you don’t disturb others when the film is on.
This degradation of cinema etiquette hit me squarely when I saw Thunderbolts*. At this screening, someone near the back started watching TikToks. Sound on. Bright screen up. Yes, I yelled at them to turn their phone off. And yes, I didn’t hear a peep from them for the rest of the film. However, the fact that they thought watching something on their phone during a screening was acceptable, and the fact that they had to be reminded by someone to stop doing it, boggles the mind.
Part of my dismay stems from a sense of purpose. Why would you pay to go to the cinema to watch a film on a big screen, to then decide to watch something else on a far smaller screen which you could watch at any other time? You’ve made the decision to go to the cinema and paid the entry price; why not commit to the experience?
The other element of my dismay relates to the social cohesion I experienced in Switzerland. There, it seems like people know the rules and, to a certain degree, conform to them. They work together as a society rather than against each other as individuals because they are all stakeholders, and they know it. Yes, I know my perception is coming via visitor-tainted glasses, but it still seems like a reasonable observation (and one which I’m sure my tour guide would support). In the UK, however, it appears that the individualistic attitude is so prevalent and all-consuming that it now corrodes spaces where the rules are clearly defined and exist for the betterment of all, such as the cinema.
Again, the rules are displayed on the screen before the film begins. This is probably not needed though, as who doesn’t know the basic rules of a cinema. Yet, there are an increasing number of people who want to flout those rules. Who don’t seem to know or care how their behavior affects others and how it ruins the movie experience for so many. Who can’t seem to keep their eyes away from their phones for more than 40 minutes before needing to catch a glimpse. If whatever is happening on your phone is so vitally important that you can’t tear yourself away from it, then why go to the cinema at all? What are you hoping to get out of the visit?
Ultimately, the cinema works as a useful microcosm of society as a whole. The darkness and feeling of isolation loosen one’s inhibitions. After all, if no one sees what we’re doing, we’re more likely to do what we want. The cinema is a sandbox in which the rules are clear, the goal is obvious, and if people behave themselves, communal enjoyment can be achieved. When selfish or ignorant actors enter this area, however, everyone suffers. Not only those whose moviegoing experience is ruined by those flouting those age-old rituals but also those disobeying the norms, as they surely cannot get everything from the movie if their attention is constantly being diverted to other places.
The joy of the cinema, as an adult, is not just the reenactment of something that brought me joy as a child. It’s also the groundedness and isolation that it provides. While the movie is on, nothing else should matter. The outside world is just that, outside. All of one’s focus should be on the big screen, and in a world in which our attention is constantly being pulled in one direction or another, this isolation is a blessing.
I like the rules of the cinema. I like the basic decency that they are meant to convey. I like the communal experience of witnessing a good story with others. And I like how easy it is to get these things right. All this makes it that much worse when others cannot.
So yes, I think the cinema is a litmus test. When people can no longer sit still, remain quiet, and respect others in a movie theater, it’s a sign that something deeper is fraying in the social fabric.
What do we do about it? I don’t know. Maybe the first step is to notice. To mourn the erosion of shared rituals. And to insist, in our quiet ways, that the social contract, however modest its form, still matters.
Even if it means yelling at someone during Thunderbolts*.