Film Theory in Media History

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Film Theory in Media History Film Theory in Media History explores the epistemological and theoretical foundations of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory. Adopting a historical perspective, but with a firm eye to the further development of the field, the series provides a platform for ground-breaking new research into film theory and media history and features high-profile editorial projects that offer resources for teaching and scholarship. Combining the book form with open access online publishing the series reaches the broadest possible audience of scholars, students, and other readers with a passion for film and theory. Actively Seeking Proposals The series welcomes scholarly monographs and edited volumes in English, by both established and early-career researchers. Series Editors Vinzenz Hediger, Goethe University Frankfurt Weihong Bao, University of California, Berkeley • Trond Lundemo, Stockholm University Daniel Fairfax, Goethe University Frankfurt • Advisory Board Dudley Andrew, Yale University • Raymond Bellour, CNRS Paris • Chris Berry, King's College London Francesco Casetti, Yale University Thomas Elsaesser, University of Amsterdam • Jane Gaines, Columbia University André Gaudreault, University of Montréal • Gertrud Koch, Free University of Berlin John MacKay, Yale University • Markus Nornes, University of Michigan Patricia Pisters, University of Amsterdam Leonardo Quaresima, University of Udine • David Rodowick, University of Chicago Philip Rosen, Brown University Petr Szczepanik, Masaryk University Brno Brian Winston, Lincoln University .

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Cinephilia Or the Uses of Disenchantment 2005
Repositorium für die Medienwissenschaft Thomas Elsaesser Cinephilia or the Uses of Disenchantment 2005 https://doi.org/10.25969/mediarep/11988 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Elsaesser, Thomas: Cinephilia or the Uses of Disenchantment. In: Marijke de Valck, Malte Hagener (Hg.): Cinephilia. Movies, Love and Memory. Amsterdam: Amsterdam University Press 2005, S. 27– 43. DOI: https://doi.org/10.25969/mediarep/11988. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell 3.0 Lizenz zur Verfügung Attribution - Non Commercial 3.0 License. For more information gestellt. Nähere Auskünfte zu dieser Lizenz finden Sie hier: see: https://creativecommons.org/licenses/by-nc/3.0 https://creativecommons.org/licenses/by-nc/3.0 Cinephilia or the Uses of Disenchantment Thomas Elsaesser The Meaning and Memory of a Word It is hard to ignore that the word “cinephile” is a French coinage. Used as a noun in English, it designates someone who as easily emanates cachet as pre- tension, of the sort often associated with style items or fashion habits imported from France. As an adjective, however, “cinéphile” describes a state of mind and an emotion that, one the whole, has been seductive to a happy few while proving beneficial to film culture in general. The term “cinephilia,” finally, re- verberates with nostalgia and dedication, with longings and discrimination, and it evokes, at least to my generation, more than a passion for going to the movies, and only a little less than an entire attitude toward life.
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Realist Cinema As World Cinema Non-Cinema, Intermedial Passages, Total Cinema Lúcia Nagib Realist Cinema As World Cinema
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German Cinema—Terror and Trauma: Cultural Memory Since 1945
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