Cinephilia

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(Redirected from
Telephilia
)

Cinephilia (

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 (/ˈsɪnɪfl/ 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, ˈsɪnˌæst/ SIN-ee-ast, -⁠ay-), though in the original French the term cinéaste ([sine.ast]) refers to a filmmaker.

Definition

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."

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]

History

Pre-war cinephilia

Since the beginning of the

Cinémathèque Française, the first major archive devoted to film preservation.[5][6]

Post-war French cinephilia

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

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

Cahiers du cinéma
.

Many of the people who attended the screenings became film critics and later filmmakers, founding the film movement known as the

and others were regulars, and several, most notably Truffaut, maintained their ties to the community after they had achieved fame.

The community fostered an interest in

nitrate prints on special occasions.[7]

Filmgoing in the 1960s and 1970s

The Italian director Federico Fellini, a fashionable figure in the United States during the 1960s and 1970s, owed part of his popularity to the support of film critics and the distribution of foreign films in order to accommodate the increasingly sophisticated public.

With the popular success of the

subtitling
foreign movies.

The era also saw the growth of college film societies. Though some, like

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

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
.

Though most of the world's major film festivals had existed for decades by this point—including the Berlin International Film Festival, the Cannes Film Festival and the Venice Film Festival—the period saw the establishment of festivals in nearly every major city. The New York Film Festival, the Karlovy Vary International Film Festival and the Chicago International Film Festival were all started during this time. The Toronto International Film Festival, often seen as second only to the Cannes Film Festival in terms of importance, was founded towards the end of this period, in 1976.

Home video and the late 20th century

arthouse film director from Hong Kong known for works such as Chungking Express (1994) and In the Mood for Love
(2000).

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 cinephilia

Cinémathèque Française in 2009) is often considered to be a major figure of vulgar auteurism by contemporary cinephiles.[15][16]

Since the beginning of the 21st century,

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
.

As was the case with the French cinephilia of the post-war era, the international cinephilic community that has developed on the Internet often emphasizes films and figures that do not have strong critical or popular recognition, including many directors who work within genre film, in what is sometimes dubbed vulgar auteurism. These include Justin Lin,[21] Abel Ferrara,[22] Michael Mann,[23] Roland Emmerich,[24][25][26] The Farrelly Brothers,[27] Michael Bay,[28] John Carpenter,[23] Kathryn Bigelow,[23] James Gray,[22] David Fincher,[22] M. Night Shyamalan,[22] Brian De Palma[22] and Tony Scott.[29][30]

In popular culture

Adnan Virk was the host of the podcast Cinephile that used to broadcast on ESPN until his leave in 2019.[31]

Films about cinephilia

[32][33][34]

Cinephilia and filmmaking

American director and cinephile Quentin Tarantino often makes references in his work to films and directors he admires.

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

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]

Cinephobia

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]

Telephilia

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]

List of cinephiles

Film directors

Other cinephiles

See also

References

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