By Marijke de Valck, Malte Hagener

They obsess over the nuances of a Douglas Sirk or Ingmar Bergman movie; they experience books akin to François Truffaut's Hitchcock; they fortunately join the Sundance Channel—they are the infrequent breed referred to as cinephiles. although a lot has been made up of the vintage period of cinephilia from the Fifties to the Seventies, Cinephilia files the most recent new release of cinephiles and their use of recent applied sciences. With the arrival of domestic theaters, electronic recording units, on-line movie groups, cinephiles this present day pursue their commitment to movie outdoor of institutional settings. an intensive new historical past of movie tradition, Cinephilia breaks new floor for college students and students alike.

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Extra info for Cinephilia: Movies, Love and Memory (Film Culture in Transition)

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After detours of city, language, and location, cinephilia implies several kinds of time delays and shifts of temporal register. Here, too, distinctions are in order. First of all, there is “oedipal time”: the kind of temporal succession that joins and separates paternity and generational repetition in difference. ” The Pascalian Eric Rohmer (of Ma Nuit chez Maud [France: ]), “chose” that macho pragmatist Howard Hawks and the dandy homosexual Friedrich Wilhelm Murnau as his father figures, while Jean-Luc Godard could be said to have initially hedged his bets as well by backing both Roberto Rossellini and Sam Fuller, both Ingmar Bergman and Fritz Lang.

Either layered like a palimpsest or immersive like a fish tank, the image today does not seek to engage the focusing gaze. Rather, it tries to suggest a more haptic contact space, a way of touching the image and being touched by it with the eye and ear. Contrast this to the heyday of mise-en-scène, where the art of framing or subtle reframing by the likes of Jean Renoir, Vincente Minnelli, or Nicholas Ray became the touchstone of value for the cinephiles of the first generation. Cinephilia take one, then, was identified with the means of holding its object in place, with the uniqueness of the moment, as well as with the singularity of sacred space, because it valued the film almost as much for the effort it took to catch it on its first release or its single showing at a retrospective, as for the spiritual revelation, the sheer aesthetic pleasure or somatic engagement it pro- Cinephilia or the Uses of Disenchantment 39 mised at such a screening.

Dominic Pettman, remark at the Cinephilia II Conference, Amsterdam . Dreams of Lost Time A Study of Cinephilia and Time Realism in Bertolucci’s The Dreamers Sutanya Singkhra What do people do for love? Just about anything. And we all know how easy it is to fall in love. It is probably because of the mysterious nature of an act of love that makes it somehow irresistible. This is why using a phrase as clichéd as “falling in love with love” is not so inappropriate when we talk about “cinephilia” as a love for cinema.

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