12 Years of DFA: Too Old To Be New, Too New To Be Classic
2013

2018
Director
Cyrus Saidi, Bert Marcus
Runtime
70 minutes
Average Rating
No ratings yetSynopsis
Bert Marcus and Cyrus Saidi present an informed and absorbing exploration of the history of EDM, boosted by an energetic soundtrack and anchored by the personal stories of legendary DJ Carl Cox and superstar newcomer Martin Garrix. Insights from numerous other DJs and musical talents like Moby, David Guetta, Paul Oakenfold and Usher help tell the often oppositional tales of old school vs. new school and mainstream vs. underground.
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film explores the history of EDM, a genre with deep ties to queer subcultures. However, the narrative focuses on professional arcs rather than explicitly centering LGBTQ+ identities.
Gender Representation
The documentary highlights legendary and superstar DJs, which reflects the traditionally male-dominated hierarchy of the electronic music industry. It lacks explicit focus on female producers or DJs.
Racial & Ethnic Diversity
A global cast of musical talents, including Usher and international DJs, provides a multicultural perspective. This reflects the inherent globalism and diverse influences found within the genre.
Religious & Cultural Diversity
The film examines the tension between underground movements and mainstream institutionalization. This framework touches on the preservation of non-conformist spaces and community-driven identities.
Disability Representation
There is no mention of individuals with visible or invisible disabilities. Disability does not appear to be a central thematic component of this musical history.
Strengths
Areas for Improvement
AI Analysis
What We Started provides a globalized look at the evolution of electronic dance music, capturing the tension between underground roots and mainstream success. It succeeds in showcasing the genre's international reach through a diverse cast of musical talents. However, the film's focus on high-profile industry figures tends to mirror the existing patriarchal and male-dominated structures of the DJ world. While it touches on subcultural identity, it lacks specific depth regarding marginalized groups. Ultimately, the documentary serves as a mid-range cultural document that prioritizes professional trajectories over deep intersectional representation.
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