Valck, Marijke deHagener, Malte2019-03-252019-03-2520059789053567685https://mediarep.org/handle/doc/4437This anthology explores new periods, practices and definitions of what it means to love the cinema. The essays demonstrate that beyond individualist immersion in film, typical of the cinephilia as it was popular from the 1950s to the 1970s, a new type of cinephilia has emerged since the 1980s, practiced by a new generation of equally devoted, but quite differently networked cinephilies. They obsess over the nuances of a Douglas Sirk or Ingmar Bergman film; they revel in books such as François Truffaut's Hitchcock; they happily subscribe to the Sundance Channel-they are the rare breed known as cinephiles. Though much has been made of the classic era of cinephilia from the 1950s to the 1970s, Cinephilia documents the latest generation of cinephiles and their use of new technologies. With the advent of home theaters, digital recordings devices, and online film communities, cinephiles today pursue their dedication to film outside of institutional settings. A radical new history of film culture, Cinephilia breaks new ground for students and scholars alike.<h4>Introduction</h4> <ul> <li><a href="http://dx.doi.org/10.25969/mediarep/11987">Marijke de Valck and Malte Hagener: <i>Down with Cinephilia? Long Live Cinephilia? And Other Videosyncratic Pleasures</i></i></a></li> </ul> <h4>I. The Ramifications of Cinephilia: Theory and History</h4> <ul> <li><a href="http://dx.doi.org/10.25969/mediarep/11988">Thomas Elsaesser: <i>Cinephilia or the Uses of Disenchantment</i></a></li> <li><a href="http://dx.doi.org/10.25969/mediarep/11989">Sutanya Singkhra: <i>Dreams of Lost Time: A Study of Cinephilia and Time Realism in Bertolucci's THE DREAMERS</i></a></li> <li><a href="http://dx.doi.org/10.25969/mediarep/11990">Drehli Robnik: <i>Mass Memories of Movies: Cinephilia as Norm and Narrative in Blockbuster Culture</i></a></li> <li><a href="http://dx.doi.org/10.25969/mediarep/11991">Jenna Ng: <i>Love in the Time of Transcultural Fusion: Cinephilia, Homage and KILL BILL</i></a></li> </ul> <h4>II. Technologies of Cinephilia: Production and Consumption</h4> <ul> <li><a href="http://dx.doi.org/10.25969/mediarep/11993">Charles Leary: <i>Remastering Hong Kong Cinema</i></a></li> <li><a href="http://dx.doi.org/10.25969/mediarep/11994">Marijke de Valck: <i>Drowning in Popcorn at the International Film Festival Rotterdam?: The Festival as a Multiplex of Cinephilia</i></a></li> <li><a href="http://dx.doi.org/10.25969/mediarep/11995">Melis Behlil: <i>Ravenous Cinephiles: Cinephilia, Internet, and Online Film Communities</i></a></li> <li><a href="http://dx.doi.org/10.25969/mediarep/11996">Wanda Strauven: <i>Re-disciplining the Audience: Godard's Rube-Carabinier</i></a></li> <li><a href="http://dx.doi.org/10.25969/mediarep/11997">Vinzenz Hediger: <i>The Original Is Always Lost: Film History, Copyright Industries and the Problem of Reconstruction</i></a></li> </ul> <h4>III. Techniques of Cinephilia: Bootlegging and Sampling</h4> <ul> <li><a href="http://dx.doi.org/10.25969/mediarep/11998">Elena Gorfinkel: <i>The Future of Anachronism: Todd Haynes and the Magnificent Andersons</i></a></li> <li><a href="http://dx.doi.org/10.25969/mediarep/11999">Lucas Hildebrand: <i>Conceptual Cinephilia: On Jon Routson's Bootlegs</i></a></li> <li><a href="http://dx.doi.org/10.25969/mediarep/12000">Jan Simons: <i>Playing the Waves: The Name of the Game is Dogme95</i></a></li> <li><a href="http://dx.doi.org/10.25969/mediarep/12001">Federico Windhausen: <i>The Parenthesis and the Standard: On a Film by Morgan Fisher</i></a></li> <li><a href="http://dx.doi.org/10.25969/mediarep/12002">Gerwin van der Pohl: <i>The Secret Passion of the Cinephile: Peter Greenaway's A ZED AND TWO NOUGHTS Meets Adriaan Ditvoorst's DE WITTE WAAN</i></a></li> </ul>engCreative Commons Attribution Non Commercial 3.0 GenericFilmKinoTheorieGeschichteKulturmotion picturesfilmtheoryhistoryculture79110.25969/mediarep/368510.5117/9789053567685