Opinion | We Aren’t Just Watching the Decline of the Oscars. We’re Watching the End of the Movies.

The late 1990s ended up this cultural order’s decades of twilight glow. Personal computer-generated outcomes were being just maturing, developing intimations of a new age of cinematic wonder. Indie cinema nurtured a new generation of auteurs. Nineteen ninety-9 is a candidate for the most effective 12 months in videos ever — the yr of “Fight Club,” “The Sixth Feeling,” “The Gifted Mr. Ripley,” “Election,” “Three Kings” and “The Insider,” so on down a roster that justifies not just a Best 10 but a Top 50 checklist in hindsight.

Tellingly, Oscar viewership essentially rose from the late 1980s onward, peaking in 1998, when “Titanic” won finest image, which (in spite of its snobbish detractors) was also a victory for The Videos as a whole — classic Hollywood meeting the distinctive-consequences era, bringing the total country to the multiplex for an working experience that basically wouldn’t have been the identical in a dwelling room.

To be a teen in that period was to encounter the flicks, nevertheless, as a essential location of initiation. I don’t forget my impotent teenage fury at staying turned absent from an R-rated action movie (I can not recall if it was “Con Air” or “Executive Decision”) and the frisson of remaining “adult” ample to see “Eyes Wide Shut” (an additional just one of all those 1999 greats — overhyped then, underrated now) on its opening weekend. And the initiation was not just into a basic adulthood but into a certain lingua franca: There ended up specified movies you merely had to enjoy, from “Austin Powers” to “The Matrix” (1999 yet again!), to purpose socially as a college university student, to realize the jokes and references that stitched with each other an full social planet.

What took place subsequent was difficult in that quite a few diverse forces were being at work but easy in that they all had the identical outcome — which was to finally knock the films off their pedestal, change them into just another kind of content material.

The happiest of these alterations was a resourceful breakthrough on tv, beginning in earnest with “Sopranos”-era HBO, which enabled tiny-display entertainment to vie with the videos as a stage for substantial-amount performing, producing and directing.

The other changes were being — perfectly, let us call them ambiguous at finest. Globalization widened the industry for Hollywood productions, but the international viewers pushed the enterprise towards a less complicated model of storytelling that translated much more very easily throughout languages and cultures, with much less complexity and idiosyncrasy and much less cultural specifics.

The net, the laptop computer and the Iphone individualized amusement and shipped it more quickly, in a way that also widened Hollywood’s likely viewers — but habituated individuals to smaller screens, isolated viewing and intermittent observing, the opposite of the cinema’s communalism.