By Christian Keathley
Cinephilia and background, or The Wind within the timber is partially a historical past of cinephilia, partly an try to recapture the spirit of cinephilia for the self-discipline of movie reviews, and partly an test in cinephilic writing.
Cinephiles have usually fetishized contingent, marginal info within the movie picture: the gesture of a hand, the wind within the timber. Christian Keathley demonstrates that the spectatorial tendency that produces such cinematic encounters -- a viewing perform marked by means of a glide in visible recognition clear of the first visible parts on show -- in reality has transparent hyperlinks to the origins of movie as outlined by means of André Bazin, Roland Barthes, and others. Keathley explores the consequences of this ontology and proposes the "cinephiliac anecdote" as a brand new kind of feedback, a mode of old writing that either imitates and extends the adventure of those fugitive moments.
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Additional info for Cinephilia and History, or The Wind in the Trees
26 As a result of the restricted availability in the pre-video days, the cinephile not only anticipated or recalled happily the times when one was able to see a rare ¤lm gem, but also let that anticipation or recollection seep into other aspects and areas of one’s life. 27 Films thus existed for people as events, but not in the commercial, promotional sense of that term. 28 In the period before video there was clearly a quasi-religious aspect of ¤lm viewing and ¤lmgoing. ”29 That is, the aura of any work of art emerges out of speci¤c conditions of reception.
And the fact that they are possible isn’t something to be swept under the rug or ignored as irrelevant, but rather investigated in as thoroughgoing a manner as possible. 21 Though we may locate qualities of excess at every turn in a motion picture, not every point of excess provokes the epiphanic frisson marking the experience as being of that special class of excess, cinephiliac moments. Ultimately, it is less the quality or nature of the image itself that is excessive than the cinephile’s response to it.
40 This ignorance of history has effects on ¤lm style. Daney goes on to describe the new approach, in which a ¤lm is no more than “a series of orphan images, images which must, one by one, be seen, recognised and, so to speak, ticked off by the spectator-consumer. ” What we have instead is “a run-through of visuals” where “the spectator is trapped by his own feeble status as consumer-decoder. ”41 What this simpli¤ed style prevents is the possibility of the projection of the spectator into the ¤lm image in any substantive way.