Sorry to compare to France again, but synchronicity strikes right here to give an example of the "critical responsibility against a perverse system".
The French cinema industry isn't doing poorly exactly (the latest French blockbuster, "Bienvenue chez les Ch'tis", a lowbrow comedy, is beating all previous sales records and the yearly audience is growing especially thanks to recent popular French movies), but still there are people to stand up and complain about a lack of diversity, a lack of opportunity and the spoilage of the state subsidies (without which there would be no French cinema).
At last year's Césars (the French Oscars), indie filmmaker Pascale Ferran made her acceptance speech for Best Film of the year (Lady Chatterley) a severe accusation against the governmental policy and the extinction of the middle ground cinema (cited as exemples : Resnais, Chabrol, Rivette, Lelouch, Berri, Costa-Gavras,Téchiné,Tavernier, C. Serreau, Corneau, Miller, Jacquot, Breillat, Carax, Chéreau, Guédiguian, Jolivet, Assayas, C. Denis, Dupeyron,T. Marshall, N. Garcia, Jeunet, Klapisch, Desplechin, Beauvois, Corsini, Kahn, Ferran, Kassovitz, Audiard, Salvadori,Vernoux, Masson, Belvaux, Mazuy, Lvovsky, Podalydès, Jaoui, Ozon, Moll, Cantet, Kechiche) between big budget movies well supported by TV networks and the small budget art films supported by subsidies. She said the gap between these two poles was growing thin which tends to polarize the image we get of cinema into two clear cut alternatives : the entertainment and the "boring".
This lone call had a snowball effect and opened the mouths of everyone. Though quite slow, like with every bureaucratic system, the press relayed the criticism and began to think over the situation. And now an independent interdisciplinary group of filmmakers (Jacques Audiard, Pascale Ferran & Claude Miller), screenwriter (Cécile Vargaftig), producers (Denis Freyd, Arnaud Louvet, Patrick Sobelman & Édouard Weil), distributor (Fabienne Vonier), theatre owner (Stéphane Goudet, Claude-Éric Poiroux & Jean-Jacques Ruttner), international distributor (François Yon) got together (surprisingly no critics or scholars in there) and published a report to analyze the current system and propose some needed modifications (Le Club des 13).
So even if it was ballsy and ungrateful to shout at the academy that just gave her a prize in 2007, the milieu of cinema kinda agreed and opened up to bilateral talks.
Today the newspapers (Le Monde, Libération, Les inrocks, Télérama) mention the news in a supporting way. This becomes a public debate.
Cahiers published the Cesar2007 speech online after having questionned the quantity of films produced in France in the past issues (#618 and #619 notably) then suggested some proposition just before the presidential elections (#622) and interviewed each candidate regarding their cultural agenda (#622).
This is what I'd call "Responsibilities of criticism": socio-political awareness, moral integrity, self-examination, analytical scrutiny and altruism.
The system is benevolent and ultra-protectionist in France : quotas, subsidies, taxes... yet the domestic production only owns around 40% of the market, leaving 45% to Hollywood and more or less 15% to non-Hollywood foreign films (=60% of foreign films allowed on our screens! that's how "ultra-protectionist" we are, compared to the 5% in the USA). But still people working here and benefiting from this system raise awareness and call for more justice, more fairness for everyone, and less abuse of the aids by the prosperous parties who don't need it.
We see that Hollywood screenwriters can solidify around their union to beg for their cut of the internet profits and get a lot of media attention, but could the same thing happen for selfless interests to defend the cultural diversity in their country? I honestly don't know, I'm just asking the question.