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Cinephilia
Cinephilia (; 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 (), cinemaphile, filmophile, or, informally, a film buff (also movie buff). To a cinephile, a movie is not just a form of entertainment as they see films from a more critical point of view. In English, "cinephile" is sometimes used interchangeably with the word cineaste (), though in the original French the term ''cinéaste'' () refers to a cinephile who is also a filmmaker. Definition In a review of a book on the history of cinephilia, Mas Generis writes: "Cinephilia, is the condition of a sexual attraction to movies." 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 per ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jacques Rivette
Jacques Rivette (; 1 March 1928 – 29 January 2016) was a French film director and film critic most commonly associated with the French New Wave and the film magazine '' Cahiers du Cinéma''. He made twenty-nine films, including '' L'amour fou'' (1969), '' Out 1'' (1971), ''Celine and Julie Go Boating'' (1974), and ''La Belle Noiseuse'' (1991). His work is noted for its improvisation, loose narratives, and lengthy running times. Inspired by Jean Cocteau to become a filmmaker, Rivette shot his first short film at age twenty. He moved to Paris to pursue his career, frequenting Henri Langlois' Cinémathèque Française and other ciné-clubs; there, he met François Truffaut, Jean-Luc Godard, Éric Rohmer, Claude Chabrol and other future members of the New Wave. Rivette began writing film criticism, and was hired by André Bazin for ''Cahiers du Cinéma'' in 1953. In his criticism, he expressed an admiration for American films – especially those of genre directors such as J ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Film Criticism
Film criticism is the analysis and evaluation of films and the film medium. In general, film criticism can be divided into two categories: journalistic criticism that appears regularly in newspapers, magazines and other popular mass-media outlets; and academic criticism by film scholars who are informed by film theory and are published in academic journals. Academic film criticism rarely takes the form of a review; instead it is more likely to analyse the film and its place in the history of its genre or in the whole of film history. Film criticism is also labeled as a type of writing that perceives films as possible achievements and wishes to convey their differences, as well as the films being made in a level of quality that is satisfactory or unsatisfactory. Film criticism is also associated with the journalistic type of criticism, which is grounded in the media's effects being developed, and journalistic criticism resides in standard structures such as newspapers. Journa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Claude Chabrol
Claude Henri Jean Chabrol (; 24 June 1930 – 12 September 2010) was a French film director and a member of the French New Wave (''nouvelle vague'') group of filmmakers who first came to prominence at the end of the 1950s. Like his colleagues and contemporaries Jean-Luc Godard, François Truffaut, Éric Rohmer and Jacques Rivette, Chabrol was a critic for the influential film magazine '' Cahiers du cinéma'' before beginning his career as a film maker. Chabrol's career began with '' Le Beau Serge'' (1958), inspired by Hitchcock's '' Shadow of a Doubt'' (1943). Thrillers became something of a trademark for Chabrol, with an approach characterized by a distanced objectivity. This is especially apparent in '' Les Biches'' (1968), '' La Femme infidèle'' (1969), and '' Le Boucher'' (1970) – all featuring Stéphane Audran, who was his wife at the time. Sometimes characterized as a "mainstream" New Wave director, Chabrol remained prolific and popular throughout his half-century ca ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Film Scholar
Film studies is an academic discipline that deals with various theoretical, historical, and critical approaches to cinema as an art form and a medium. It is sometimes subsumed within media studies and is often compared to television studies. Film studies is less concerned with advancing proficiency in film production than it is with exploring the narrative, artistic, cultural, economic, and political implications of the cinema. In searching for these social-ideological values, film studies takes a series of critical approaches for the analysis of production, theoretical framework, context, and creation. Also, in studying film, possible careers include critic or production. Overall the study of film continues to grow, as does the industry on which it focuses. Academic journals publishing film studies work include '' Sight & Sound'', '' Film Comment'', ''Film International'', '' CineAction'', ''Screen'', ''Journal of Cinema and Media Studies'', '' Film Quarterly'', and ''Journal ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
French New Wave
French New Wave (french: La Nouvelle Vague) is a French art film movement that emerged in the late 1950s. The movement was characterized by its rejection of traditional filmmaking conventions in favor of experimentation and a spirit of iconoclasm. New Wave filmmakers explored new approaches to editing, visual style, and narrative, as well as engagement with the social and political upheavals of the era, often making use of irony or exploring existential themes. The New Wave is often considered one of the most influential movements in the history of cinema. The term was first used by a group of French film critics and cinephiles associated with the magazine ''Cahiers du cinéma'' in the late 1950s and 1960s. These critics rejected the ''Tradition de qualité'' ("Tradition of Quality") of mainstream French cinema, which emphasized craft over innovation and old works over experimentation. This was apparent in a manifesto-like 1954 essay by François Truffaut, ''Une certaine tenda ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cahiers Du Cinéma
''Cahiers du Cinéma'' (, ) is a French film magazine co-founded in 1951 by André Bazin, Jacques Doniol-Valcroze, and Joseph-Marie Lo Duca.Itzkoff, Dave (9 February 2009''Cahiers Du Cinéma Will Continue to Publish''The New York TimesMacnab, Geoffrey (7 April 2001''Pretentious, nous?''''The Guardian'' It developed from the earlier magazine ''Revue du Cinéma'' ( established in 1928) involving members of two Paris film clubs Objectif 49 (Robert Bresson, Jean Cocteau, and Alexandre Astruc, among others; ) and Ciné-Club du Quartier Latin (). Initially edited by Doniol-Valcroze and, after 1957, by Éric Rohmer (aka, Maurice Scherer), it included amongst its writers Jacques Rivette, Jean-Luc Godard, Claude Chabrol, and François Truffaut, who went on to become highly influential filmmakers. It is the oldest French-language film magazine in publication. History The first issue of ''Cahiers'' appeared in April 1951. Much of its head staff, including Bazin, Doniol-Valcroze, Lo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Film
A film also called a movie, motion picture, moving picture, picture, photoplay or (slang) flick is a work of visual art that simulates experiences and otherwise communicates ideas, stories, perceptions, feelings, beauty, or atmosphere through the use of moving images. These images are generally accompanied by sound and, more rarely, other sensory stimulations. The word "cinema", short for cinematography, is often used to refer to filmmaking and the film industry, and to the art form that is the result of it. Recording and transmission of film The moving images of a film are created by photography, photographing actual scenes with a movie camera, motion-picture camera, by photographing drawings or miniature models using traditional animation techniques, by means of computer-generated imagery, CGI and computer animation, or by a combination of some or all of these techniques, and other visual effects. Before the introduction of digital production, series of still imag ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
World Cinema
World cinema is a term in film theory that refers to films made outside of the American motion picture industry, particularly those in opposition to the aesthetics and values of commercial American cinema.Nagib, Lúcia. "Towards a positive definition of world cinema." ''Remapping world cinema: Identity, culture and politics in film'' (2006): 30-37. The Third Cinema of Latin America and various national cinemas are commonly identified as part of world cinema. The term has been criticized for Americentrism and for ignoring the diversity of different cinematic traditions around the world. Types World cinema has an unofficial implication of films with "artistic value" as opposed to "Hollywood commercialism." Foreign language films are often grouped with "art house films" and other independent films in DVD stores, cinema listings etc. Unless dubbed into one's native language, foreign language films played in English-speaking regions usually have English subtitles. Few films of thi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alexandre Astruc
Alexandre Astruc (; 13 July 1923 – 19 May 2016) was a French film critic and film director. Biography Before becoming a film director he was a journalist, novelist and film critic. His contribution to the auteur theory centers on his notion of the ''caméra-stylo'' or "camera-pen" and the idea that directors should wield their cameras like writers use their pens.Alexandre Astruc, "The Birth of a New Avant-Garde: La Caméra-Stylo," in ''The New Wave'', ed. Peter Graham, pp. 17-23. Trans. from "Naissance d'une nouvelle avant-garde: la caméra-stylo," ''L'Écran Français'' 144, 30 March 1948. In 1994 he was awarded the René Clair Award for his whole body of film work. Selected filmography ''(s) indicates films also co-scripted by Astruc'' *1949: ''Ulysse ou Les mauvaises rencontres'' also known as ''Aller et retour'', a short film; Astruc also wrote the scenario *1952: '' The Crimson Curtain'' (s) (Le rideau cramoisi) *1952: '' La Putain respectueuse'' *1955: '' Les Mauvai ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jean-Luc Godard
Jean-Luc Godard ( , ; ; 3 December 193013 September 2022) was a French-Swiss film director, screenwriter, and film critic. He rose to prominence as a pioneer of the French New Wave film movement of the 1960s, alongside such filmmakers as François Truffaut, Agnès Varda, Éric Rohmer, and Jacques Demy. He was arguably the most influential French filmmaker of the post-war era. According to AllMovie, his work "revolutionized the motion picture form" through its experimentation with narrative, continuity, sound, and camerawork. His most acclaimed films include '' Breathless'' (1960), '' Vivre sa vie'' (1962), '' Contempt'' (1963), ''Band of Outsiders'' (1964), '' Alphaville'' (1965), '' Pierrot le Fou'' (1965), ''Masculin Féminin'' (1966), '' Weekend'' (1967), and ''Goodbye to Language'' (2014). During his early career as a film critic for the influential magazine '' Cahiers du Cinéma'', Godard criticised mainstream French cinema's "Tradition of Quality", which de-emphasis ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jacques Doniol-Valcroze
Jacques Doniol-Valcroze (; 15 March 1920 – 6 October 1989) was a French actor, critic, screenwriter, and director. In 1951, Doniol-Valcroze was a co-founder of the renowned film magazine ''Cahiers du cinéma'', along with André Bazin and Joseph-Marie Lo Duca. The magazine was initially edited by Doniol-Valcroze between 1951-1957. As critic, he championed numerous filmmakers including Orson Welles, Howard Hawks, and Nicholas Ray. In 1955, then 23-year-old François Truffaut made a short film in Doniol-Valcroze's apartment, '' Une Visite''. Jacques's daughter Florence played a minor part in it. In 1955, he was a member of the jury at the 16th Venice International Film Festival, and in 1964 a member of the jury at the 14th Berlin International Film Festival. New Wave In his thirties he played a pivotal role in the French New Wave, discussing the beginnings of "the new cinema" as the co-founder of ''Cahiers du cinéma'' and defended Alain Robbe-Grillet. In 1963 he appeared in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
François Truffaut
François Roland Truffaut ( , ; ; 6 February 1932 – 21 October 1984) was a French film director, screenwriter, producer, actor, and film critic. He is widely regarded as one of the founders of the French New Wave. After a career of more than 25 years, he remains an icon of the French film industry, having worked on over 25 films. Truffaut's film ''The 400 Blows'' (1959) is a defining film of the French New Wave movement, and has four sequels, '' Antoine et Colette'' (1962), '' Stolen Kisses'' (1968), '' Bed and Board'' (1970), and '' Love on the Run'' (1979). Truffaut's 1973 film ''Day for Night'' earned him critical acclaim and several awards, including the BAFTA Award for Best Film and the Academy Award for Best Foreign Language Film. His other notable films include '' Shoot the Piano Player'' (1960), ''Jules and Jim'' (1962), ''The Soft Skin'' (1964), ''The Wild Child'' (1970), '' Two English Girls'' (1971), '' The Last Metro'' (1980), and ''The Woman Next Door'' (19 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
