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Cinephilia
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Cinephilia
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. 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.
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." 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." 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."
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".
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.
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.
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.
Many of the people who attended the screenings became film critics and later filmmakers, founding the film movement known as the French New Wave. André Bazin, François Truffaut, Jacques Doniol-Valcroze, Claude Chabrol, Jean-Luc Godard, Alexandre Astruc, Jacques Rivette, Agnes Varda, Luc Moullet and others were regulars, and several, most notably Truffaut, maintained their ties to the community after they had achieved fame.
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Cinephilia
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. 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.
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." 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." 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."
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".
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.
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.
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.
Many of the people who attended the screenings became film critics and later filmmakers, founding the film movement known as the French New Wave. André Bazin, François Truffaut, Jacques Doniol-Valcroze, Claude Chabrol, Jean-Luc Godard, Alexandre Astruc, Jacques Rivette, Agnes Varda, Luc Moullet and others were regulars, and several, most notably Truffaut, maintained their ties to the community after they had achieved fame.