Cineastics

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Cineastik , more rarely cinephilie ( French cinéphilie ) or cineasmus , describes the passionate love for cinema and film ; their followers are called cineasts or cinephiles . It is fed by the reception of film and cinema. Since the production , distribution and, above all, the reception of films and the importance of cinema as a cultural practice have changed over the past decades, historical and current manifestations can be distinguished.

Historical expression

The starting point of “classic” cineastics is the enthusiasm for cinema in France in the 1950s: “The classic cinephilia, which has shaped the reception of the cinema for the enthusiasts for decades, loves visiting the cinematheque , she loves the ' realistic ' ontology of the recorded image as well as the quality of appearance of the chemical emulsion, she loves [e] the projection on the screen […] ”. The result was the “desire to write about films and to exchange likes, dislikes and convictions with others in order to express one's own passion.” Film magazines were founded to spread ideas and share passion: in 1951 André Bazin and Jacques Doniol founded Valcroze published the Cahiers du cinéma , in which François Truffaut , Jean-Luc Godard , Jacques Rivette , Luc Moullet , Éric Rohmer and Claude Chabrol published, among others .

In the “modern” phase of the 1960s, many who had initially written about film, such as Godard and Rohmer, switched to directing themselves. In the late 1960s and 1970s, cineastics was closely related to the academic view of film, which dealt with political and theoretical aspects of film. This included above all the structurally motivated genre criticism of feminist film research since the mid-1960s: "[...] the love of cinema was now known under other names: voyeurism , fetishism , and curiosity ." Similar to the "classic" was the "modern" Cinephilia is closely linked to the cinema as an institution and the cinematographic dispositive: the carrier medium (film), presentation form (projection) and reception (cinema hall) were largely determined until the dawn of the digital age.

Current version

“Postmodern” cineastics represents a different approach to film in the digital media world. Digitization and the Internet have changed the material and technical possibilities of film and have taken on a wide variety of forms and forms. This is reflected in the large number of media such as DVD / Blu-ray , hard drive or online stream . The technology and type of reception have also changed (cinema projection, television, computer screen, plane / bus rides) as well as the social arrangement of reception (alone, with friends, at home, on the go, on the terrace, at the desk, on the train). The dissolution of the pure cinema dispositive no longer ties the film to the cinema as an institution; neither to a specific location nor to presentation times nor to a specific medium - and thereby dissolves the original form of cinephilia. The reception on an individual and private level in particular has meant that the function of cinema as a social practice has faded into the background. With regard to postmodern cinephilia, Thomas Elsaesser rather speaks of a rebirth: "Cineastics [...] has reborn itself and got rid of its body in the process."

literature

supporting documents

  1. ↑ Hans J. Wulff: Cineast / Cineasmus . In: Lexikon der Filmbegriffe, edited by Hans. J. Wulff and Theo Bender
  2. ↑ Ekkehard Knörer: The Internet as the cinema of the future .
  3. ↑ a b c Thomas Elsaesser: Cinephilia or the Uses of Disenchantment . Pages 30–41. In: Marijke de Valck, Malte Hagener (ed.): Cinephilia. Movies, Love and Memory . Amsterdam 2005

Original quotes

  1. ↑ "desire to write about them (films), which in turn required sharing one's likes, dislikes, and convictions with others, in order to give body to one's love object [...]"
  2. ↑ "[...] the love of cinema was now called by a different name: voyeurism, fetishism, and scopophilia."
  3. ↑ "Cinephilia [...] has reincarnated itself, by disembodying itself."