Cinephilia (/ˌsɪnɪˈfɪliə/SIN-ih-FIL-ee-ə; also cinemaphilia or filmophilia) is the term used to refer to a passionate interest in films, film theory, and film criticism. The term is a portmanteau of the words cinema and philia, one of the four ancient Greek words for love.[1] A person with a passionate interest in cinema is called a cinephile (/ˈsɪnɪfaɪl/SIN-ih-fyle), cinemaphile, filmophile, or, informally, a film buff (also movie buff). To a cinephile, a film is often not just a source of entertainment as they see films from a more critical point of view.
In English, cinephile is sometimes used interchangeably with the word cineaste (/ˈsɪniˌæst,ˈsɪneɪˌæst/SIN-ee-ast, -ay-), though in the original French the term cinéaste ([sine.ast]) refers to a filmmaker.
Definitionedit
In a review of a book on the history of cinephilia, Mas Generis writes: "Cinephilia, despite its transparent etymological meaning—love of cinema—is a term that resists ready and shared understanding."[2] Generis also introduces a quote from film scholar Annette Michelson that states that there is, "No one such thing as cinephilia, but rather forms and periods of cinephilia."[2] As described by Antoine de Baecque and Thierry Frémaux, "The definitive essence of cinephilia is a culture of the discarded that prefers to find intellectual coherence where none is evident and to eulogize the non-standard and the minor."[3]
Film historian Thomas Elsaesser writes that it "reverberates with nostalgia and dedication... more than a passion of going to the movies and only a little less than an entire attitude towards life".[4]
Historyedit
Pre-war cinephiliaedit
Since the beginning of the silent era, there have been film clubs and publications in which people who felt passionately about cinema could discuss their interests and see rare and older works. At the beginning of the sound era, there were more and more people interested in seeing older films, which led to the establishment of organizations such as the Cinémathèque Française, the first major archive devoted to film preservation.[5][6]
Post-war French cinephiliaedit
A notable cinephilic community of the 20th century was the one that developed in Paris in the decades following World War II. An influx of foreign films that had been withheld during the Occupation, as well as the screening programs of local film clubs and the Cinémathèque Française, generated interest in world cinema amongst the city's intellectual youth culture. In general, the cinephiles of the period set a template for future like-minded groups by having keen enthusiasm for both older and contemporary films.[7]
Influential film clubs of the period included Objectif 49, whose members included Robert Bresson and Jean Cocteau, and the Ciné-Club du Quartier Latin (Cinema Club of the Latin Quarter). Revue du Cinéma, a magazine published by members of the two clubs, later evolved into the influential film magazine Cahiers du cinéma.
The era also saw the growth of college film societies. Though some, like Doc Films at the University of Chicago, had existed since the 1930s, the 1960s saw directors of all generations regularly make appearances at college campuses, whether to revisit their old films or to discuss new ones. The Melbourne Cinematheque, founded in 1948 in Melbourne, Australia, began as the Melbourne University Film Society (MUFS), and was renamed Cinémathèque in 1984.[8]
At the same time, the Parisian cinephilic culture became increasingly politicized. Critics, and by extension the cinephiles who followed their work, began to emphasize political aspects of films and directors. Though many of the major figures of the post-war community has been originally aligned with the political right—including most of the Cahiers du cinéma group—by the late 1960s Cahiers and the young cinephile public in general had aligned with various forms of the Left, with some figures, such as Jean-Luc Godard, aligning with Maoism. In this very politicized climate, cinema was often seen as directly connected to Marxism. Many members of this new generation of cinephiles would become critics[9] and directors, including Serge Daney, Philippe Garrel, and André Téchiné.
As VHS tapes,[10]DVDs[11][12] and later digital access[13] became more common, cinephilia became less associated with filmgoing in theatres (much to the dismay of some cinephiles like Sontag).[14][1]
While Japanese films have enjoyed worldwide distribution in the mid 20th century, the late 20th century saw an increase in interest amongst cinephiles in cinema from other Asian countries, especially China, Hong Kong, Taiwan and, later, Thailand.
Contemporary cinephiliaedit
Since the beginning of the 21st century, blogging has become a large part of cinephile culture. In the English-speaking world, established critics and theorists like Dave Kehr, David Bordwell, Jonathan Rosenbaum,[17]Glenn Kenny, Wheeler Winston Dixon and Adrian Martin, as well as non-professional cinephiles like Girish Shambu played key roles in building interest in films or theories amongst cinephiles by writing and communicating through blogs.[18]Forums and podcasts have become popular ways to stir discussion, allowing cinephiles from different countries and cultures to discuss ideas about film. The social networking and video streaming service MUBI caters specifically to cinephiles, allowing its members access to films that sometimes haven't been distributed theatrically or on video in their home countries. Home video distribution labels and distributors such as The Criterion Collection, Masters of Cinema, Facets, Vinegar Syndrome and Kino cater to cinephiles, often including large amounts of supplemental and critical material with their releases. Another major development in contemporary cinephilia came in the form of the social cataloging application formed in 2011 known as Letterboxd. Hosting approximately 10 million users,[19] Letterboxd is the largest community of online cinephiles to date, allowing users to share their taste in films[20] using a five-star system.
Throughout the history of cinema, there have been numerous directors who developed their understanding of cinema through filmgoing and participation in cinephile communities and organizations instead of within the formal settings of either a film school or a film studio.
The directors of the French New Wave, who learned about filmmaking by attending screenings at film clubs and discussing movies amongst themselves, are often seen as models for cinephiles. Their intellectual omnivorousness, which equated an interest in cinema with strong understandings of literature, art and sometimes philosophy, has continued to have influence on cinephiles.[35]
On the other hand, many directors emphasize their lack of cinephilia or interest in movies as in the cases of Abbas Kiarostami and Peter Greenaway, while acclaimed by cinephiles,[14][36] often emphasized their disinterests in cinema when interviewed.[37][38]
Cinephobiaedit
There have also been different forms of cinephobia (fear or hatred of cinema)[39] from the fear of "losing" celluloid film in the digital age through anxieties about moral values on the big screen to the point of censorship.[40][41]
Telephiliaedit
Telephilia is the term used to refer to a passionate interest in television.[42] Coined by The New York Times critic Frank Rich as a pejorative term, telephilia was defined as "the pathological longing of Americans, no matter how talentless, to be on television".[43] This early definition was reflective of the negative attitude contemporary critics had toward television, which was frowned upon as inferior to film until the advent of quality television in the 1980s and 1990s.[44][45][46][47][48] With the rise of quality television, anti-heroic series like The Sopranos and The Wire were cited as improving television content thus earning critical praise.[49][50]
Telephilia is also said to rival cinephilia for relevance, as production values are higher than ever before on shows such as Mad Men, Breaking Bad and Homeland.[51] Despite this development, there are still intellectuals [52] who consider telephilia as inferior to cinephilia, particularly in cases of obsessions for modern television programs belonging to genres such as melodrama and soap opera.[53] This is also explained by the view that highlighted the unattainable nature of the cinema, which makes it more desirable and extraordinary since it features a regime of presence-yet-absence filmic image, allowing a form of cinematic stardom capable of triggering a series of psychic mechanisms.[54] This is contrasted with television, which is perceived to be more present and immediate—with its stars "famous only in so far as he or she makes frequent television appearances."[54] Some observers, however, note that there is now a destabilization of traditional notions of what constitutes cinephilic tendency due to the availability of film on home media technology.[55]
^ abcdede Valck, Marijke; Hagener, Malte, eds. (2005). Cinephilia: Movies, Love and Memory. Amsterdam: Amsterdam University Press. ISBN 90-5356-768-2.
^ abGeneris, Mas (11 December 2006). "Cinephilia now: review of Cinephilia: movies, love and memory". Screening the Past (20). La Trobe University. Archived from the original on 8 March 2011. Retrieved November 7, 2009.
^ abcKeathley, Christian. Cinephilia and history, or, The wind in the trees. Bloomington: Indiana UP, 2005.
^Wardlow, Ciara (February 2, 2017). "Is Fandom the New Cinephilia?". Film School Rejects.
^"Informations institutionnelles - La Cinémathèque française". www.cinematheque.fr.
^"Search Microsoft Translator - Translate from French to English". www.bing.com.
^ abLe fantôme d'Henri Langlois. Dir. Jacques Richard. DVD. Kino Video, 2004.
^"Melbourne Cinémathèque". acmi.com.au. Retrieved 2 April 2022.
^Dargis, Manohla (April 22, 1998). "Cinephobia - LA Weekly". www.laweekly.com.
^Fraser, Shane (January 9, 2018). "10 Best Documentaries About Movies Every Cinephile Should See".
^Dargis, Manohla (November 14, 2004). "The 21st-Century Cinephile". The New York Times – via NYTimes.com.
^"The New Cinephilia & The Permanent Crisis of Film Criticism: The Anxiety of Authority". Cineaste Magazine.
^"A Property of Movies: A Conversation with Brian De Palma". MUBI. October 1, 2012.
^ abBetz, Mark (December 21, 2009). "Beyond the subtitle : remapping European art cinema". Minneapolis : University of Minnesota Press – via Internet Archive.
^"Cinephobia: To Wonder, To Worry". www.lolajournal.com.
^Cinephilia / Cinephobia: New Mediations of Desire and Disgust-University of Pittsburgh
^Groves, Tim (July 5, 2013). "Night Surfing: On Telephilia – Senses of Cinema".
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^Casetti, Francesco; Fanchi, Mariagrazia (17 August 2017). "Cinephilia/Telephilia". Framework: The Journal of Cinema and Media. 45 (2): 38–41. JSTOR 41552408.
^"Cinephilia/Telephilia By Casetti, Francesco; Fanchi, Mariagrazia-Framework, Vol. 45, Issue 2, Fall 2004-Online Research Library". Archived from the original on 2020-10-27. Retrieved 2018-10-28.
^Liddy-Judge, Chloe (December 21, 2013). "The television anti-hero". MIRR - Mary Immaculate Research Repository – via dspace.mic.ul.ie.
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^Front, Celluloid Liberation (17 May 2013). "Telephilia: Has Television Become a More Relevant American Medium Than Art Film?". IndieWire.
^Miklitsch, Robert (February 1, 2012). Roll Over Adorno: Critical Theory, Popular Culture, Audiovisual Media. State University of New York Press. ISBN 9780791481875 – via Google Books.
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^ abRedmond, Sean (2013). The Cinema of Takeshi Kitano: Flowering Blood. New York: Columbia University Press. p. 74. ISBN 9780231163323.
^Wroot, Jonathan; Willis, Andy (2017). Cult Media: Re-packaged, Re-released and Restored. Cham, Switzerland: Palgrave Macmillan. p. 40. ISBN 9783319636788.
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