Read part one of Craig Detweiler's posthere.

Monsters movies are a tired, moribund, nearly dead genre. Roland Emmerich's 1998 Godzilla remake was horrible - all the effects, none of the joy. It had a traditional scenario, established stars, and extravagant set pieces. But the end result was a snooze. Where was the giddy thrill of discovery? The fear of what happens next?

Cloverfield goes back to the original Japanese source material to reinvent Godzilla. It has all the familiar notes: What is that thing? Where did it come from? No time to find out–RUN! The tension builds in traditional ways. Long quiet passages punctuated by panic. The rats in the subway tunnel run the same way. It offers a creature in the background you can't quite see.

But Cloverfield didn't just revive an old genre; it also uses the latest video camera technology, such as creepy night vision, in a raw and authentic way. The movie generated antipathy simply because of its shaky, handheld video style. It feels loose, informal, and spontaneous - it can also make you seasick. The style itself becomes a stumbling block. Plenty of viewers longed for Cloverfield's camera to settle down and conform to some pattern. But the chaos also means you can't be a passive observer. The audience is forced to participate.

Emergent churches are equally authentic, immediate, and lived. Their services feel unscripted, even though they may be planned. Like Cloverfield, they offer the illusion of spontaneity which is an art unto itself. The generation that embraces Cloverfield and emerging churches isn't interested in second or third order reflection. They live in the moment, treasuring direct and unmediated experiences.

For better or worse, handheld digital video is the affordable ...

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