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Cinephilia Goes Global: Loving Cinema in the Post-cinematic Age

Research output: Chapter in Book/Report/Conference proceedingOther chapter contribution

Standard

Cinephilia Goes Global: Loving Cinema in the Post-cinematic Age. / Vidal, Belen Isabel.

The Routledge Companion to World Cinema. ed. / Stone Rob; Cooke Paul; Dennison Stephanie; Marlow-Mann Alex. 1st. ed. Oxon and New York : Routledge, 2017. p. 404-414 (Remapping World Cinema).

Research output: Chapter in Book/Report/Conference proceedingOther chapter contribution

Harvard

Vidal, BI 2017, Cinephilia Goes Global: Loving Cinema in the Post-cinematic Age. in S Rob, C Paul, D Stephanie & M-M Alex (eds), The Routledge Companion to World Cinema. 1st edn, Remapping World Cinema, Routledge, Oxon and New York, pp. 404-414.

APA

Vidal, B. I. (2017). Cinephilia Goes Global: Loving Cinema in the Post-cinematic Age. In S. Rob, C. Paul, D. Stephanie, & M-M. Alex (Eds.), The Routledge Companion to World Cinema (1st ed., pp. 404-414). (Remapping World Cinema). Oxon and New York: Routledge.

Vancouver

Vidal BI. Cinephilia Goes Global: Loving Cinema in the Post-cinematic Age. In Rob S, Paul C, Stephanie D, Alex M-M, editors, The Routledge Companion to World Cinema. 1st ed. Oxon and New York: Routledge. 2017. p. 404-414. (Remapping World Cinema).

Author

Vidal, Belen Isabel. / Cinephilia Goes Global: Loving Cinema in the Post-cinematic Age. The Routledge Companion to World Cinema. editor / Stone Rob ; Cooke Paul ; Dennison Stephanie ; Marlow-Mann Alex. 1st. ed. Oxon and New York : Routledge, 2017. pp. 404-414 (Remapping World Cinema).

Bibtex Download

@inbook{9807a746e525407988105efe6f9e4600,
title = "Cinephilia Goes Global: Loving Cinema in the Post-cinematic Age",
abstract = "The concept of cinephilia started to be explicitly invoked once more at the turn of the millenium. Susan Sontag’s often cited article “The Decay of Cinema,” published in the New York Times Magazine in 1996, lamented the symbolic death of cinema and with it the passing of cinephilia as a culture that values film not as an industrial product, but as a poetic object. The next ten years, however, saw the rebirth of cinephilia as a shared language of love, discussion, and film analysis—a culture that is very much alive through books on film theory and criticism, film journals, film festivals, let alone the proliferation of writing and viewing online, in blogs and video streaming channels. Unlike the first wave of historical cinephilia—which developed in the first two decades after the end of World War II in the metropolitan hubs of Europe and America, with Paris as its symbolic centre—this second wave is transnational and lacks a clear centre. Moreover, it approaches film as one more element in a multi-media constellation of moving images (Thomas Elsaesser), as new practices such as the video-essay suggest. This survey article will trace the evolution of the debates about cinephilia and its place within modern film culture with an emphasis on cinephilia’s “second wave.” I will focus on what Mark Betz has defined as the three facets of the study of contemporary cinephilia: as phenomenon (cultural, historical, geo-political), as experience (collective, individual), and as knowledge (fascination, reflection, interpretation). My aim is to explore the ways in which the elusiveness of the original cinematic experience is, in turn, prompting a myriad of cinephilic re-visions.",
keywords = "Film Studies",
author = "Vidal, {Belen Isabel}",
year = "2017",
month = "10",
language = "English",
isbn = "9781138918801",
series = "Remapping World Cinema",
publisher = "Routledge",
pages = "404--414",
editor = "Stone Rob and Cooke Paul and Dennison Stephanie and Marlow-Mann Alex",
booktitle = "The Routledge Companion to World Cinema",
address = "United Kingdom",
edition = "1st",

}

RIS (suitable for import to EndNote) Download

TY - CHAP

T1 - Cinephilia Goes Global: Loving Cinema in the Post-cinematic Age

AU - Vidal, Belen Isabel

PY - 2017/10

Y1 - 2017/10

N2 - The concept of cinephilia started to be explicitly invoked once more at the turn of the millenium. Susan Sontag’s often cited article “The Decay of Cinema,” published in the New York Times Magazine in 1996, lamented the symbolic death of cinema and with it the passing of cinephilia as a culture that values film not as an industrial product, but as a poetic object. The next ten years, however, saw the rebirth of cinephilia as a shared language of love, discussion, and film analysis—a culture that is very much alive through books on film theory and criticism, film journals, film festivals, let alone the proliferation of writing and viewing online, in blogs and video streaming channels. Unlike the first wave of historical cinephilia—which developed in the first two decades after the end of World War II in the metropolitan hubs of Europe and America, with Paris as its symbolic centre—this second wave is transnational and lacks a clear centre. Moreover, it approaches film as one more element in a multi-media constellation of moving images (Thomas Elsaesser), as new practices such as the video-essay suggest. This survey article will trace the evolution of the debates about cinephilia and its place within modern film culture with an emphasis on cinephilia’s “second wave.” I will focus on what Mark Betz has defined as the three facets of the study of contemporary cinephilia: as phenomenon (cultural, historical, geo-political), as experience (collective, individual), and as knowledge (fascination, reflection, interpretation). My aim is to explore the ways in which the elusiveness of the original cinematic experience is, in turn, prompting a myriad of cinephilic re-visions.

AB - The concept of cinephilia started to be explicitly invoked once more at the turn of the millenium. Susan Sontag’s often cited article “The Decay of Cinema,” published in the New York Times Magazine in 1996, lamented the symbolic death of cinema and with it the passing of cinephilia as a culture that values film not as an industrial product, but as a poetic object. The next ten years, however, saw the rebirth of cinephilia as a shared language of love, discussion, and film analysis—a culture that is very much alive through books on film theory and criticism, film journals, film festivals, let alone the proliferation of writing and viewing online, in blogs and video streaming channels. Unlike the first wave of historical cinephilia—which developed in the first two decades after the end of World War II in the metropolitan hubs of Europe and America, with Paris as its symbolic centre—this second wave is transnational and lacks a clear centre. Moreover, it approaches film as one more element in a multi-media constellation of moving images (Thomas Elsaesser), as new practices such as the video-essay suggest. This survey article will trace the evolution of the debates about cinephilia and its place within modern film culture with an emphasis on cinephilia’s “second wave.” I will focus on what Mark Betz has defined as the three facets of the study of contemporary cinephilia: as phenomenon (cultural, historical, geo-political), as experience (collective, individual), and as knowledge (fascination, reflection, interpretation). My aim is to explore the ways in which the elusiveness of the original cinematic experience is, in turn, prompting a myriad of cinephilic re-visions.

KW - Film Studies

M3 - Other chapter contribution

SN - 9781138918801

T3 - Remapping World Cinema

SP - 404

EP - 414

BT - The Routledge Companion to World Cinema

A2 - Rob, Stone

A2 - Paul, Cooke

A2 - Stephanie, Dennison

A2 - Alex, Marlow-Mann

PB - Routledge

CY - Oxon and New York

ER -

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