Second, the way this piece ends is the most interesting aspect. In that, while the birth of DV was in many ways an idealist drive towards fulfilling Jean Cocteau film/art quote to some, the reality is that the culture itself had no way of knowing what to do with it. Instead, the rush to commercialize something that is devoid of those instincts played on the desperation of filmmakers whom equate sales or recognition as the ultimate end game. Its a dualism that rests secretly in the heart of most whom make art, even the most underground. But, whereas in other art cultures whose community might champion non commercial pursuits as both a noble and vital cause, in film, you take on the role as a nobody. And a nobody is usually a somebody you can make money off of.