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...... Speaking in terms that are fully separate from the economic implications of this circumstance, we can identify a core challenge to the way that film has historically been created, received and understood. For the parties involved on all sides, it has been traditional to understand film-watching as an event in which the senses are fully occupied and engaged. The theatrical context and its implied level of demanded personal attentiveness suggests a way of reading film that is at once enveloping and transporting to the viewer
The far more temporal nature which has been foisted upon the experience of film-watching which Monaco describes here above can tend, without offering value judgments as to the likely diminished quality of an experience such as this, can have the impact of making a film seem or feel less weighty, important or enveloping. The concept of viewing a film on a handheld media device, for example, reduced the screen and the viewing experience in such a way that the film must inherently be seen as just that. Its capacity to draw the viewer into a world where borders between screen and theatre fade to peripheral obscurity is deeply challenged by the rendering of film

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