"There is a broad cultural current that conveys the idea that a film is like a football team, it represents a nation, it is illustrated literature, filmed radio. These are outdated concepts, totally out of touch with today's realities"

Jean-Jacques Annaud's quote reviews outdated perceptions of film, suggesting that these views fail to align with contemporary cinematic realities. He recognizes three conventional metaphors for films: like a football group representing a country, as detailed literature, and as recorded radio. By calling these concepts dated, Annaud challenges the restrictions they impose on the understanding and gratitude of movie theater.

First of all, thinking about a movie similar to a football team representing a nation suggests nationwide identity and pride are main to its creation and reception. This view reduces movies to simple cultural artifacts, prioritizing nationalistic expression over artistic merit or universal styles. Nevertheless, Annaud argues that film today goes beyond borders, with global partnership and diverse impacts that defy particular nationwide representation.

Secondly, seeing movie as illustrated literature recommends that movies are simply visual retellings of stories, akin to moving illustrations of written narratives. This perspective undervalues the medium's distinct capabilities, such as the use of visual storytelling, sound design, and modifying, that can convey feelings and styles in ways literature can not. Annaud's critique stresses the importance of acknowledging film as an independent art kind with its own language and meaningful potential.

Lastly, comparing movie to shot radio is a nod to the early days of cinema when lots of films were little more than static visual accompaniments to spoken or musical material. This perception overlooks the advancement of film into a complex, diverse medium where visuals, noise, and narrative combine intricately to stimulate moods, produce stress, and communicate symbolic significance. Annaud suggests this view is antiquated and stops working to appreciate the depth and innovation present in modern cinema.

By challenging these notions, Annaud supporters for a more comprehensive and more nuanced understanding of movie, motivating audiences and creators to recognize and engage with its dynamic, multifaceted nature in today's global and highly advanced context.