Jump to content

Cinephilia

From Wikipedia, the free encyclopedia
(Redirected from Telephilia)
Not to be confused with Sinophile.

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.[1] 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.

Definition

[edit]

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."[2] 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."[2] 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."[3]

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".[4]

History

[edit]

Pre-war cinephilia

[edit]

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.[5][6]

Post-war French cinephilia

[edit]

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.[7]

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.

The community fostered an interest in directors and films that had been neglected, forgotten or simply unknown in the West, and led to the development of the auteur theory. The directors the French cinephiles of the period had strong interests in included F. W. Murnau, Robert Flaherty, Sergei Eisenstein, Jean Renoir, Jean Vigo, Orson Welles, Anthony Mann, Louis Feuillade, D. W. Griffith, the Lumière brothers, Alfred Hitchcock and Georges Méliès, whose films would be screened from nitrate prints on special occasions.[7]

Filmgoing in the 1960s and 1970s

[edit]
The Italian director Federico Fellini, a fashionable figure in the United States during the 1960s and 1970s, owed part of his popularity to the support of film critics and the distribution of foreign films in order to accommodate the increasingly sophisticated public.

With the popular success of the French New Wave, film-going became fashionable in Europe and America.[1] Revival screenings and independently run cinemas specializing in foreign films became increasingly common. In the United States, New York City was often seen as the center of cinephile culture,[1] due to the wide variety of films available to see at any given time. This culture was also helped by the popularity in America of figures such like Pauline Kael, Andrew Sarris and Susan Sontag.[3] Certain writers and critics, including Sontag, would later come to view this as the "Golden Age" of film-going in the US.[1][3] Directors such as Ingmar Bergman, Akira Kurosawa, Michelangelo Antonioni and Federico Fellini enjoyed a great deal of popularity in the US and influenced the young generation of film enthusiasts who would become the New Hollywood, including Martin Scorsese, Peter Bogdanovich, Francis Ford Coppola and Woody Allen. Due to growing public interest in films from other countries, specialty distributors such as Janus Films and New Yorker Films began importing and subtitling foreign movies.

The era also saw the growth of college film societies. Though some, like Doc Films at the University of Chicago, had existed since the 1930s, the 1960s saw directors of all generations regularly make appearances at college campuses, whether to revisit their old films or to discuss new ones. The Melbourne Cinematheque, founded in 1948 in Melbourne, Australia, began as the Melbourne University Film Society (MUFS), and was renamed Cinémathèque in 1984.[8]

At the same time, the Parisian cinephilic culture became increasingly politicized. Critics, and by extension the cinephiles who followed their work, began to emphasize political aspects of films and directors. Though many of the major figures of the post-war community has been originally aligned with the political right—including most of the Cahiers du cinéma group—by the late 1960s Cahiers and the young cinephile public in general had aligned with various forms of the Left, with some figures, such as Jean-Luc Godard, aligning with Maoism. In this very politicized climate, cinema was often seen as directly connected to Marxism. Many members of this new generation of cinephiles would become critics[9] and directors, including Serge Daney, Philippe Garrel, and André Téchiné.

Though most of the world's major film festivals had existed for decades by this point—including the Berlin International Film Festival, the Cannes Film Festival and the Venice Film Festival—the period saw the establishment of festivals in nearly every major city. The New York Film Festival, the Karlovy Vary International Film Festival and the Chicago International Film Festival were all started during this time. The Toronto International Film Festival, often seen as second only to the Cannes Film Festival in terms of importance, was founded towards the end of this period, in 1976.

Films championed by cinephiles and Western intellectuals as "cutting-edge" and "revolutionary" from the 1960s-1970s included Lindsay Anderson's Cannes-winning epic If...., Humberto Solás's Lucía and Glauber Rocha's Antonio das Mortes alongside multiple works by Godard and the agitprop documentaries of The Newsreel.[10]

Home video and the late 20th century

[edit]
Wong Kar-wai (pictured) is a renowned arthouse film director from Hong Kong known for works such as Chungking Express (1994) and In the Mood for Love (2000).

As VHS tapes,[11] DVDs[12][13] and later digital access[14] became more common, cinephilia became less associated with filmgoing in theatres (much to the dismay of some cinephiles like Sontag).[15][1]

While Japanese films have enjoyed worldwide distribution in the mid 20th century, the late 20th century saw an increase in interest amongst cinephiles in cinema from other Asian countries, especially China, Hong Kong, Taiwan and, later, Thailand.

Contemporary cinephilia

[edit]
Though his films have met with mixed commercial and critical success, American director Michael Mann (pictured above at Cinémathèque Française in 2009) is often considered to be a major figure of vulgar auteurism by contemporary cinephiles.[16][17]

Since the beginning of the 21st century, blogging has become a large part of cinephile culture. In the English-speaking world, established critics and theorists like Dave Kehr, David Bordwell, Jonathan Rosenbaum,[18] Glenn Kenny, Wheeler Winston Dixon and Adrian Martin, as well as non-professional cinephiles like Girish Shambu played key roles in building interest in films or theories amongst cinephiles by writing and communicating through blogs.[19] Forums and podcasts have become popular ways to stir discussion, allowing cinephiles from different countries and cultures to discuss ideas about film. The social networking and video streaming service MUBI caters specifically to cinephiles, allowing its members access to films that sometimes haven't been distributed theatrically or on video in their home countries. Home video distribution labels and distributors such as The Criterion Collection, Masters of Cinema, Facets, Vinegar Syndrome and Kino cater to cinephiles, often including large amounts of supplemental and critical material with their releases. Another major development in contemporary cinephilia came in the form of the social cataloging application formed in 2011 known as Letterboxd.[20] Hosting approximately 10 million users,[21] Letterboxd is the largest community of online cinephiles to date, allowing users to share their taste in films[22] using a five-star system.

As was the case with the French cinephilia of the post-war era, the international cinephilic community that has developed on the Internet often emphasizes films and figures that do not have strong critical or popular recognition, including many directors who work within genre film, in what is sometimes dubbed vulgar auteurism. These include Justin Lin,[23] Abel Ferrara,[24] Michael Mann,[25] Roland Emmerich,[26][27][28] The Farrelly Brothers,[29] Michael Bay,[30] John Carpenter,[25] Kathryn Bigelow,[25] David Fincher,[24] M. Night Shyamalan,[24] Brian De Palma[24] and Tony Scott.[31][32]

A notable series of video essays by Canadian filmmaker Stephen Broomer entitled Art & Trash focuses on underground, avant-garde and cult cinema (particularly outsider and psychotronic movies).[33]

[edit]

Adnan Virk was the host of the podcast Cinephile that used to broadcast on ESPN until his leave in 2019.[34]

Films about cinephilia

[edit]

[35][36][37][38]

Cinephilia and filmmaking

[edit]
American director and cinephile Quentin Tarantino often makes references in his work to films and directors he admires.

Throughout the history of cinema, there have been numerous directors who developed their understanding of cinema through filmgoing and participation in cinephile communities and organizations instead of within the formal settings of either a film school or a film studio.

The directors of the French New Wave, who learned about filmmaking by attending screenings at film clubs and discussing movies amongst themselves, are often seen as models for cinephiles. Their intellectual omnivorousness, which equated an interest in cinema with strong understandings of literature, art and sometimes philosophy, has continued to have influence on cinephiles.[39]

On the other hand, many directors emphasize their lack of cinephilia or interest in movies as in the cases of Abbas Kiarostami and Peter Greenaway, while acclaimed by cinephiles,[15][40] often emphasized their disinterests in cinema when interviewed.[41][42]

Cinephobia

[edit]

There have also been different forms of cinephobia (fear or hatred of cinema)[43] from the fear of "losing" celluloid film in the digital age through anxieties about moral values on the big screen to the point of censorship.[44][45]

Telephilia

[edit]

Telephilia is the term used to refer to a passionate interest in television.[46] Coined by The New York Times critic Frank Rich as a pejorative term, telephilia was defined as "the pathological longing of Americans, no matter how talentless, to be on television".[47] This early definition was reflective of the negative attitude contemporary critics had toward television, which was frowned upon as inferior to film until the advent of quality television in the 1980s and 1990s.[48][49][50][51][52] With the rise of quality television, anti-heroic series like The Sopranos and The Wire were cited as improving television content thus earning critical praise.[53][54]

Telephilia is also said to rival cinephilia for relevance, as production values are higher than ever before on shows such as Mad Men, Breaking Bad and Homeland.[55] Despite this development, there are still intellectuals [56] who consider telephilia as inferior to cinephilia, particularly in cases of obsessions for modern television programs belonging to genres such as melodrama and soap opera.[57] This is also explained by the view that highlighted the unattainable nature of the cinema, which makes it more desirable and extraordinary since it features a regime of presence-yet-absence filmic image, allowing a form of cinematic stardom capable of triggering a series of psychic mechanisms.[58] This is contrasted with television, which is perceived to be more present and immediate—with its stars "famous only in so far as he or she makes frequent television appearances."[58] Some observers, however, note that there is now a destabilization of traditional notions of what constitutes cinephilic tendency due to the availability of film on home media technology.[59]

List of cinephiles

[edit]

Film directors

[edit]

Other cinephiles

[edit]

See also

[edit]

References

[edit]
  1. ^ a b c d e de Valck, Marijke; Hagener, Malte, eds. (2005). Cinephilia: Movies, Love and Memory. Amsterdam: Amsterdam University Press. ISBN 90-5356-768-2.
  2. ^ a b Generis, Mas (11 December 2006). "Cinephilia now: review of Cinephilia: movies, love and memory". Screening the Past (20). La Trobe University. Archived from the original on 8 March 2011. Retrieved November 7, 2009.
  3. ^ a b c Keathley, Christian. Cinephilia and history, or, The wind in the trees. Bloomington: Indiana UP, 2005.
  4. ^ Wardlow, Ciara (February 2, 2017). "Is Fandom the New Cinephilia?". Film School Rejects.
  5. ^ "Informations institutionnelles - La Cinémathèque française". www.cinematheque.fr.
  6. ^ "Search Microsoft Translator - Translate from French to English". www.bing.com.
  7. ^ a b Le fantôme d'Henri Langlois. Dir. Jacques Richard. DVD. Kino Video, 2004.
  8. ^ "Melbourne Cinémathèque". acmi.com.au. Retrieved 2 April 2022.
  9. ^ Dargis, Manohla (April 22, 1998). "Cinephobia - LA Weekly". www.laweekly.com.
  10. ^ WR, Sex, and the Art of Radical Juxtaposition|Current|The Criterion Collection
  11. ^ Fraser, Shane (January 9, 2018). "10 Best Documentaries About Movies Every Cinephile Should See".
  12. ^ Dargis, Manohla (November 14, 2004). "The 21st-Century Cinephile". The New York Times – via NYTimes.com.
  13. ^ "The New Cinephilia & The Permanent Crisis of Film Criticism: The Anxiety of Authority". Cineaste Magazine.
  14. ^ "A Property of Movies: A Conversation with Brian De Palma". MUBI. October 1, 2012.
  15. ^ a b Betz, Mark (December 21, 2009). "Beyond the subtitle : remapping European art cinema". Minneapolis : University of Minnesota Press – via Internet Archive.
  16. ^ "MUBI: Watch and Discover Movies". MUBI.
  17. ^ "Some Came Running: The Mann act: "Public Enemies"".
  18. ^ Kidwell, John. "Bad Cinephile". Splice Today.
  19. ^ "Calendar". Film at Lincoln Center. Archived from the original on December 11, 2008.
  20. ^ Letterboxd's rise from social platform to Hollywood powerhouse - Los Angeles Times
  21. ^ Mullin, Benjamin (2023-09-29). "Letterboxd, Online Haven for Film Nerds, Gets a New Owner". The New York Times. ISSN 0362-4331. Retrieved 2024-01-31.
  22. ^ "Letterboxd • Your life in film". 2011-10-28. Archived from the original on 2011-10-28. Retrieved 2024-01-31.
  23. ^ Fast & Furious & Elegant: Justin Lin and the Vulgar Auteurs|Village Voice
  24. ^ a b c d Vulgar Auteurism: A Guide Or: The "Mann-Scott-Baysians"-MUBI
  25. ^ a b c "Vulgar Auteurism". June 4, 2015.
  26. ^ "The Golden Age of TV: Rise of the Television Auteur|Facets Features".
  27. ^ "Army of Milla: Resident Evil and Modern Auteurism". April 16, 2013.
  28. ^ "Secret Defense: Roland Emmerich's "Anonymous"". MUBI. November 1, 2011.
  29. ^ Brody, Richard. "A Few Thoughts on Vulgar Auteurism". The New Yorker.
  30. ^ "The artistic genius of Michael Bay - Macleans.ca". 26 July 2013.
  31. ^ "Expressive Esoterica in the 21st Century—Or: What Is Vulgar Auteurism?". June 3, 2013.
  32. ^ Palmer, Landon (June 11, 2013). "What the Insular Debate on 'Vulgar Auteurism' Says About Contemporary Movie Criticism and…". Film School Rejects.
  33. ^ "The best video essays of 2021 | Sight and Sound". bfi.org.uk. 18 January 2022. Retrieved 2024-08-02.
  34. ^ Casselberry, Ian (April 7, 2021). "Adnan Virk takes his Cinephile podcast to Meadowlark Media".
  35. ^ Farrugia, Susannah (July 1, 2016). "The 10 Best Movies About Cinephiles".
  36. ^ Farrugia, Susannah (July 1, 2016). "The 10 Best Movies About Cinephiles".
  37. ^ Hough, Quinn (September 22, 2020). "Fade To Black: Every Movie Reference (& How The Killer Relates To Each)". ScreenRant.
  38. ^ 'Film Geek' Review: A Cinephile's Guide of New York - The New York Times
  39. ^ Yorker, The New (September 22, 2012). "The Movies Aren't Dying (They're Not Even Sick)". The New Yorker – via www.newyorker.com.
  40. ^ Kürten, Jochen (2022-04-05). "British director Peter Greenaway at 80". Deutsche Welle. Retrieved 2023-03-19.
  41. ^ Dekin, Mert (October 1, 2019). "10 Famous Arthouse Movies That Are Too Self-Indulgent".
  42. ^ "Peter Greenaway: I've seven productive years left to finish 30 projects". South China Morning Post. May 6, 2015.
  43. ^ "Cinephilia". obo.
  44. ^ "Cinephobia: To Wonder, To Worry". www.lolajournal.com.
  45. ^ Cinephilia / Cinephobia: New Mediations of Desire and Disgust-University of Pittsburgh
  46. ^ Groves, Tim (July 5, 2013). "Night Surfing: On Telephilia – Senses of Cinema".
  47. ^ "The Namibian". www.namibian.com.na. Archived from the original on 2017-08-08. Retrieved 2017-09-08.
  48. ^ "Cultivating TV aesthetics". 3 June 2014. Archived from the original on 3 July 2014. Retrieved 8 September 2017.
  49. ^ "Making A Case For The '90s, Television's "Other" Golden Age". September 14, 2016.
  50. ^ "Why the Golden Age of TV Was Really Born in the 1980s". Vulture. October 25, 2016.
  51. ^ Casetti, Francesco; Fanchi, Mariagrazia (17 August 2017). "Cinephilia/Telephilia". Framework: The Journal of Cinema and Media. 45 (2): 38–41. JSTOR 41552408.
  52. ^ "Cinephilia/Telephilia By Casetti, Francesco; Fanchi, Mariagrazia-Framework, Vol. 45, Issue 2, Fall 2004-Online Research Library". Archived from the original on 2020-10-27. Retrieved 2018-10-28.
  53. ^ Liddy-Judge, Chloe (December 21, 2013). "The television anti-hero". MIRR - Mary Immaculate Research Repository – via dspace.mic.ul.ie.
  54. ^ "Post-network audiences and cable crime drama (PDF Download Available)". ResearchGate.
  55. ^ Front, Celluloid Liberation (17 May 2013). "Telephilia: Has Television Become a More Relevant American Medium Than Art Film?". IndieWire.
  56. ^ Miklitsch, Robert (February 1, 2012). Roll Over Adorno: Critical Theory, Popular Culture, Audiovisual Media. State University of New York Press. ISBN 9780791481875 – via Google Books.
  57. ^ Miklitsch, Robert (2006). Roll Over Adorno: Critical Theory, Popular Culture, Audiovisual Media. New York: State University of New York Press. p. 135. ISBN 0791467333.
  58. ^ a b Redmond, Sean (2013). The Cinema of Takeshi Kitano: Flowering Blood. New York: Columbia University Press. p. 74. ISBN 9780231163323.
  59. ^ Wroot, Jonathan; Willis, Andy (2017). Cult Media: Re-packaged, Re-released and Restored. Cham, Switzerland: Palgrave Macmillan. p. 40. ISBN 9783319636788.
  60. ^ Red Hollywood: An Interview with Thom Andersen - Senses of Cinema
  61. ^ Sharf, Zack (August 13, 2021). "Paul Thomas Anderson's Favorite Films: Over 35 Movies the Director Wants You to See".
  62. ^ "Paul Thomas Anderson's LA". Entertainment Weekly.
  63. ^ "How Brian De Palma influenced the films of Noah Baumbach". Little White Lies.
  64. ^ Ehrlich, David (June 25, 2019). "Ari Aster Breaks Down 9 Movies That Inspired 'Midsommar,' from 'The Red Shoes' to 'Climax'".
  65. ^ "On not giving up". thecreativeindependent.com.
  66. ^ Kaufman, Sophie Monks (December 9, 2021). ""Embracing the Male Gaze": Sean Baker on Red Rocket | Filmmaker Magazine".
  67. ^ Kohn, Eric (October 3, 2017). "Noah Baumbach Reveals the Key Movies That Made Him Want to Be a Filmmaker".
  68. ^ Film Review: 'Trespassing Bergman' Review: Ingmar Bergman's Legacy - Variety
  69. ^ "After 14 long years, 'Incredibles 2' picks up with its family of suburban superheroes". Los Angeles Times. April 26, 2018.
  70. ^ Horne, Philip (22 July 2011). "Kevin Brownlow: a life in the movies". The Guardian. Retrieved 21 February 2023.
  71. ^ Foreman, Christian Zilko,Alison; Zilko, Christian; Foreman, Alison (March 29, 2023). "Bong Joon Ho's Favorite Movies: 47 Films the Director Wants You to See".{{cite web}}: CS1 maint: multiple names: authors list (link)
  72. ^ "From Kubrick to Polanski: A list of the Coen Brothers' 30 favorite films|Far Out Magazine".
  73. ^ "Sofia Coppola Looks Back on Growing Up Cinephile | Current | The Criterion Collection".
  74. ^ "Blow Out Remains Brian De Palma's Politically Cynical Masterpiece - Paste Magazine".
  75. ^ Jake Coyle (November 12, 2017). "Movies: Greta Gerwig shows off directing talent with debut, 'Lady Bird'". Associated Press.
  76. ^ Godard Was Cinema|The Nation
  77. ^ "James Gray's Ad Astra | Current | The Criterion Collection".
  78. ^ Erik Swann (May 26, 2020). "James Gunn's Favorite Superhero Movie Might Surprise You". CINEMABLEND.
  79. ^ "Todd Haynes: 'All my movies are critical and financial disappointments initially'". The Irish Times.
  80. ^ "Stranger Than Paradise: Enter Jarmusch | Current | The Criterion Collection".
  81. ^ "Adventures in Moviegoing with Barry Jenkins | Current | The Criterion Collection".
  82. ^ De kijk van Koolhoven, VPRO
  83. ^ "Stanley Kubrick, cinephile". British Film Institute. November 22, 2019.
  84. ^ "A definitive list of Stanley Kubrick's 93 favourite films". faroutmagazine.co.uk. June 19, 2022.
  85. ^ Davis, Clayton (January 14, 2021). "Spike Lee Reflects on Eve of American Cinematheque Honor".
  86. ^ "Tragedy hits and Spike Lee rewrites 'BlacKkKlansman'". AP News. May 16, 2018.
  87. ^ Thompson, Anne (January 15, 2021). "Spike Lee Accepts American Cinematheque Award from 'Da 5 Bloods' Cast".
  88. ^ Staff, T. H. R. (November 6, 2014). "'21 Years: Richard Linklater': Film Review". The Hollywood Reporter.
  89. ^ "Jean-Pierre Melville: The Moral Dimension of Crime". MUBI. May 2, 2017.
  90. ^ Hodgman, John (December 8, 2002). "The Bard of Omaha". The New York Times – via NYTimes.com.
  91. ^ Kurland, Daniel (September 15, 2020). "The Evil Dead: How Sam Raimi's Movie Compares To Equinox (Did He Rip It Off?)". ScreenRant.
  92. ^ a b The Strange and Sad Saga of How Filmmaker Mark Rappaport Lost His Movies (And What He Can Do To Get Them Back)|IndieWire
  93. ^ "The Safdie brothers on making crime thriller Uncut Gems". www.ft.com.
  94. ^ "Le Cinéma Club | JOHN'S GONE".
  95. ^ Staff, The Playlist (August 5, 2013). "Retrospective: The Directorial Career Of Paul Schrader".
  96. ^ Foreman, Wilson Chapman,Alison; Chapman, Wilson; Foreman, Alison (November 25, 2023). "Martin Scorsese's Favorite Movies: 80 Films the Director Wants You to See".{{cite web}}: CS1 maint: multiple names: authors list (link)
  97. ^ "Kevin Smith leaves the Star Wars 7 set in tears". The Independent. July 1, 2014.
  98. ^ Foreman, Alison (August 8, 2023). "Steven Spielberg's Favorite Movies: 28 Films the Director Wants You to See".
  99. ^ Chapman, Christian Zilko,Alison Foreman,Wilson; Zilko, Christian; Foreman, Alison; Chapman, Wilson (December 6, 2023). "Quentin Tarantino's Favorite Movies: 59 Films the Director Wants You to See".{{cite web}}: CS1 maint: multiple names: authors list (link)
  100. ^ "Guillermo del Toro on Watership Down | Current | The Criterion Collection".
  101. ^ "TRUFFAUT: AUTEUR AND CINEPHILE". MUBI.
  102. ^ Hemon, Aleksandar (September 3, 2012). "The Wachowskis, Beyond the Matrix". The New Yorker – via www.newyorker.com.
  103. ^ Dry, Jude (November 30, 2017). "John Waters' Favorite Movies of 2017 Include 'Baby Driver,' 'Wonderstruck' and 'The Strange Ones'".
  104. ^ Ben Wheatley's Closet Picks|The Criterion Collection
  105. ^ "Anger Management - Nicolas Winding Refn". www.dga.org.
  106. ^ "The awful, wonderful integrity of Plan 9 From Outer Space/The Dissolve".
  107. ^ Grater, Tom (March 3, 2020). "Edgar Wright On How Cinemas Can Win The Netflix Battle".
  108. ^ "James Baldwin and the Movies | Current | The Criterion Collection".
  109. ^ A small tribute to the titanic David Bordwell, "a real cinephile" - Tone Madison
  110. ^ Stephen Dalton (5 January 2022). "David Bowie, film fan". British Film Institute. Retrieved 23 August 2023.
  111. ^ Lockett, Dee (2017-07-21). "The Most Lana Del Rey Things Lana Del Rey Says on Lust for Life". Vulture. Retrieved 2021-07-17.
  112. ^ "Review: Thumbs up for Ebert doc 'Life Itself'". Associated Press News. July 2014.
  113. ^ "Chainsaw Man Opening Pays Homage to Tarantino, Coen Bros. Movies and More". 12 October 2022.
  114. ^ "Ayo Edebiri's Viral Letterboxd Reviews Show Her 'Love' for Movies: 'I'm a Comedian'". 16 January 2024.
  115. ^ "Bill Hader Lists the Movies That Inspired Him to Become a Filmmaker". Collider. 19 September 2019.
  116. ^ "George Harrison Helped Save Monty Python's The Life Of Brian". 6 April 2023. Retrieved 2024-05-09.
  117. ^ "Z Channel: A Magnificent Obsession (2004)".
  118. ^ "Adolf Hitler, Film Fanatic". History Today. 14 March 2018.
  119. ^ "Kim Jong-il: The cinephile despot". BBC News. 19 December 2011.
  120. ^ Parkin, Simon (May 23, 2012). "Hideo Kojima: video game drop-out – interview part 1". The Guardian. ISSN 0261-3077. Retrieved September 7, 2020.
  121. ^ "Don't F**k with Cats Hunting an Internet Killer review: Catch me if you can". 28 December 2019.
  122. ^ "Did You See This? | Current | The Criterion Collection".
  123. ^ "Frank Ocean's 100 Favorite Films: 'Blue Velvet,' 'Solaris,' 'Annie Hall' and 97 More". 23 August 2016.
  124. ^ "Patton Oswalt on His New Memoir, 'Silver Screen Fiend,' and His Dream Dinner Guests". The Hollywood Reporter. 6 January 2015.
  125. ^ "Trent Reznor's five favourite films of all time". 17 May 2022.
  126. ^ "J. D. Salinger, Movie Lover | Current | The Criterion Collection".
  127. ^ CINDY SHERMAN SELECTS - Presented in Partnership with HAUSER & WIRTH - Metrograph on YouTube
  128. ^ "Ivan Smagghe is a Cinephile". 25 June 2014.
  129. ^ "Sondheim the Cinephile: How Film Shaped His Work". 9 November 2023.
  130. ^ "Stephen Sondheim named his 40 favourite films of all time". 29 November 2021.
  131. ^ "From Stanley Kubrick to Jean-Luc Godard: Susan Sontag's list of top 50 favourite films of all time". Far Out Magazine. 18 April 2020. Retrieved 29 November 2023.
  132. ^ Buckmaster, Luke (6 February 2017). "David Stratton: A Cinematic Life review – a poignant portrait of a beloved cinephile". The Guardian.
  133. ^ Ee-Meyers, Elaine (2 December 2010). "Eric Khoo's latest labour of love: Tatsumi". Time Out Singapore. Archived from the original on 2011-02-17. Retrieved 2 April 2011.
  134. ^ "How the Weeknd Came to Play Himself in the Safdie Brothers' Berserk 'Uncut Gems'". 10 September 2019.
  135. ^ "Thé Tjong-Khing - Film". literatuurmuseum.
  136. ^ Lobb, Adrian (September 22, 2022). "Exclusive: 7 things we learned from Alex Turner about new Arctic Monkeys album The Car". The Big Issue. Retrieved October 16, 2022.
  137. ^ Azadeh, Darius (May 22, 2022). "10 Films That Majorly Inspired Arctic Monkeys' Tranquility Base Hotel and Casino". Taste of Cinema. Retrieved October 16, 2022.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Cinephilia&oldid=1259966115#Telephilia"