By Christian Keathley
Cinephilia and background, or The Wind within the timber is partially a historical past of cinephilia, partially an try to recapture the spirit of cinephilia for the self-discipline of movie experiences, and partly an test in cinephilic writing.
Cinephiles have frequently fetishized contingent, marginal information 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 way of a glide in visible consciousness clear of the first visible parts on reveal -- actually 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 form of feedback, a style of historic writing that either imitates and extends the event of those fugitive moments.
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Extra resources for Cinephilia and History, or The Wind in the Trees
Until a short time ago all these dif¤culties gave me a feeling of being a pioneer, an explorer, a dare-devil, a hero. This victory over adversity gave me a naive pleasure, like that of someone who conquers a summit or discovers a virgin pass, a speci¤c pleasure that was part of the quest. [ . . ] Inaccessibility creates a sense of urgency, forces you to see ¤lms the moment they are shown. ”25 This dynamic balance of availability and rarity did not end in the 1950s, but in fact lasted well into the 1970s and early 1980s, when the expansion of cable and pay television and, most importantly, home video brought it to an end.
I too once met a girl in Central Park, but it was not much to remember. 24 While I would not want to deny for a second the extraordinary pleasure that ¤lmic moments such as these bring to both the cinephile and the ordinary movie fan, they do not qualify as “cinephiliac moments” as I am using that term because they are precisely designed to be memorable; and they are memorable because they are both visually striking and narratively important (the climax in Stagecoach, an important turning point in The Third Man).
My stomach lurches. It is always surprising this moment, this movement, always and without fail it takes me aback. Yet what can it mean to yoke these incommensurate terms—always and surprising? Let me just say, at this The Cinephiliac Moment and Panoramic Perception 33 point, that I am both surprised and haunted by this cinematic moment. ”22 While it is clear that the moment Stern identi¤es is not accidental, but rather carefully designed and choreographed, the emphasis she places on it is greater than its visual quality or narrative importance would normally provoke.
Cinephilia and History, or The Wind in the Trees by Christian Keathley