We can see that Exploding Cinema gets its identity firstly from its style of dÚcor and presentation which relates to the aesthetics of popular art rather than those of high art. Secondly its identity is associated with a wider counter culture. However this counter culture has a limited support for creativity which is a lower priority than politics of both lifestyle and direct action campaigns. This means that there are no formal avenues for the distribution and showing of movie material.
Financial independence is a key feature of the Exploding Cinema. It is this independence from funding that allows it to put on spectacular shows attracting large audiences whilst allowing the most direct access for filmmakers to show their work. There are those who would prefer a lower door price and less professionalism and those who would like a context of higher production values to showcase their work. Open access is mainly about allowing any filmmaker to show work without submitting to a selection procedure. This ideal in reality favours those closer to the collective. Certain forces seem to prevent Exploding Cinema being swamped by the open invitation to show not least of which is the self-selection of filmmakers themselves. Such policies as open access also have a polemical value as slogans.
Open access can also be applied to the collective membership, as anyone in the audience is invited to join, and to the audience by having a low door price and unpretentious venues. Participant observation allows these policies to be seen in practice over a long period and a wide variety of venues.