Based on Pierre Bourdieu’s theory of social fields, this article discusses current changes in the rules for and position of film in the field of art. Concerning the feature film in particular—as a merely semi-consecrated art form—mergers between the artistic-homononomous and the commercial-heteronomous fields can be observed. This has complex consequences for its reception and its potential for distinction. Because of the ubiquity of cinematic products, increasingly subtle differences in appropriation manifest themselves, which are no longer exhausted in the preference for individual films or film genres. In this context, this paper also subjects the popular concept of subcultural capital to critical scrutiny.