The Criterion Conundrum: When Pop Culture Meets High Art

The announcement that KPop Demon Hunters, a wildly popular Netflix animated film, will join the esteemed Criterion Collection has sparked debate. Is this a bold move to expand the brand’s reach or a dilution of its curatorial standards? To answer this question, it’s essential to examine the broader implications of Criterion’s evolving criteria for inclusion.

The Criterion Collection is renowned for its meticulous curation of rare and influential films from around the world. Founded in 1984 by Robert Kesselman and Stephen C. Auerbach, with a focus on releasing LaserDiscs, the label has since expanded to include DVDs, Blu-rays, and digital releases. Over the years, Criterion has become synonymous with quality and craftsmanship, often restoring films that have been lost or forgotten.

The film distribution landscape has shifted dramatically in recent times. The rise of streaming services like Netflix, Amazon Prime, and Disney+ has disrupted traditional models for film consumption and preservation. As a result, Criterion faces a pressing question: how to preserve and present films that are increasingly ephemeral?

KPop Demon Hunters may seem like an unlikely addition to the collection at first glance. However, as we delve deeper into Criterion’s history, it becomes clear that the label has always been willing to challenge conventional notions of “high” and “low” culture. In its early days, Criterion released films like Ghostbusters (1984) and Armageddon (1998), which were both commercially successful and widely popular.

This eclecticism was a deliberate choice by co-founder Bob Stein to make the label more accessible and inclusive. As Criterion’s president, Peter Becker, has stated in interviews, “We let the movies carry the brand into the market place, so we don’t talk about the company very much.” This approach reflects the label’s commitment to preserving films that may otherwise be lost or forgotten.

Film scholar Amanda D. Lotz notes that streaming content is often ephemeral, and corporations are not always willing to preserve it. In including KPop Demon Hunters, Criterion may be acknowledging the cultural significance of these types of films, even if they don’t fit into traditional notions of “art house” cinema.

Ultimately, the inclusion of KPop Demon Hunters raises questions about preservation and curation in the digital age. As we move further away from physical media and towards streaming platforms, what does it mean to preserve a film for posterity? Is it enough to simply make it available on Netflix or Amazon Prime, or do institutions like Criterion provide a more deliberate and curated experience?

The Criterion Collection has always been about more than just preserving films – it’s also about contextualizing them within the broader cultural landscape. As KPop Demon Hunters joins the ranks of In the Mood for Love (2000) and Wild at Heart (1990), we’re reminded that art is not a fixed or static concept, but rather a dynamic and evolving entity.

The implications of this development are far-reaching, extending beyond film preservation to broader conversations about cultural relevance and what it means to be a “classic” in the 21st century. As Criterion continues to adapt and evolve, its commitment to preserving and promoting films that transcend genre and category remains unwavering.

The inclusion of KPop Demon Hunters marks a new chapter in the ongoing conversation about what it means to be a “classic” in the 21st century. This development will undoubtedly continue to shape the future of film preservation and curation, as Criterion navigates the changing media landscape while remaining true to its core values.