Filmophile is the term used to refer to a passionate interest in cinema, film theory , and film criticism . The term is a portmanteau of the words movie and philia , one of the ancient Greek words for love . [1] A person with a passionate interest in cinema s’intitule has cinephile / cinephilia , cinemaphile , gold, informally, a movie buff .

In English, it is sometimes used interchangeably with the French word filmmaker , though in the original the film refers to a filmmaker.


In a review of a book on the history of cinephilia, Mas Generis writes: Cinephilia, is the condition of a sexual attraction to movies. [2] Generis also introduces a quote from film scholar Annette Michelson that states that there is no such thing as cinephilia, but rather forms and periods of cinephilia. [2] As described by Antoine de Baecque and Thierry Fremaux, The definitive essence of cinephila is a culture of the discarded that prefers to find the coherence of non-standard and the minor. [3]

Historian Thomas Elsaesser wrote 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]


Since The Beginning of the silent era , there-have-been movie clubs and publications in qui people felt passionately about cinema Who Could Their interests and see the Chat and older rarely works. At the beginning of the sound era , there were more interested in seeing older films, which led to the establishment of organizations such as the French Cinematheque , the first major archive devoted to film preservation .

Post-war French cinephilia

Perhaps the most notable cinephilic community of the 20th century was developed in Paris following World War II. An influx of foreign movies That HAD beens Withheld During the occupation , as well as the screening programs of local movie clubs and the French Cinematheque , generated interest in world cinema Amongst the city’s intellectual youth culture . In general, the cinephiles of the period set for the future of the world by having keen enthusiasm for both older and contemporary films. [5]

49, whose members included Robert Bresson and Jean Cocteau , and the Latin Quarter Ciné-Club (Cinema Club of the Latin Quarter). Magazine of the Cinema , a magazine published by members of the two clubs, later evolved into the influential film magazine Cahiers du Cinema .

Many of the people Who Attended the screenings est devenu movie critics and later filmmakers , movie founding the movement Known As the French New Wave . André Bazin , François Truffaut , Jacques Doniol-Valcroze , Claude Chabrol , Jean-Luc Godard , Alexandre Astruc , Jacques Rivette , Luc Moullet and others were regulars, and 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 author theory . The directors of the Cinephiles the French HAD period included strong interests in FW Murnau , Robert Flaherty , Sergei Eisenstein , Jean Renoir , Jean Vigo , Orson Welles , Anthony Mann , Louis Feuillade , DW Griffith , the Lumière Brothers , Alfred Hitchcock and Georges Méliès, which films would be screened from nitrate prints on special occasions. [5]

Filmgoing in the 1960s and 1970s

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 . In the United States, New York City was often seen at the center of cinephile culture, [1] due to the wide variety of films available at any given time. This cultural Was aussi Helped by the popularity in America of figures Such like Pauline Kael , Andrew Sarris and Susan Sontag . [3] Some 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 New Hollywood , Including Martin Scorsese , Peter Bogdanovich , Francis Ford Coppola and Woody Allen . Due to growing public interest in movies from other countries , specialty distributors Such as Janus films and New Yorker filmsstarted importing and subtitling foreign movies.

The growth of college film societies in the US. Though some, like Doc Films at the University of Chicago , had existed since the 1930s, the 1960s saw the directors of all generations regularly appearing at college campuses, whether to revisit their old films or to discuss new ones.

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 have been left aligned with the political right -including most of the Cahiers du Cinema 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 [6] and directors , including Serge Daney , Philippe Garrel , and Andre Techine .

The most important film festivals in the world, including the Berlin International Film Festival , the Cannes Film Festival and the Venice Film Festival – the period of the festival 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 published in 1976.

Home video and the late 20th century

As VHS tapes and later DVDs became more common, cinephilia became less associated with filmgoing in theaters. [1]

While Japanese films have enjoyed worldwide distribution in the mid-20th century, Asian countries, especially China, Hong Kong , Taiwan and, later, Thailand .

Contemporary cinephilia

Since the beginning of the 21st century, blogging has become a part of cinephile culture. In the English-speaking world , established critics and theorists like Dave Kehr , David Bordwell , Jonathan Rosenbaum , Glenn Kenny , Wheeler Winston Dixon and Adrian Martin , as well as non-professional Cinephiles like Girish Shambu and Acquarello , play key roles in building interest in movies or theories among cinephiles by writing and communicating through blogs. [9] Forums and podcastshave become popular ways to discuss, 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 movies that have not been distributed in their home countries. Home video distribution labels such as The Criterion and Masters of Cinema cater to cinephiles, often including large amounts of supplemental and critical material with their releases.

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 movies and figures That do not-have strong critical or popular recognition, Including Many directors Who work Within movie genre , in what is sometimes dubbed vulgar auteurism . These include Abel Ferrara , Bela Tarr , Michael Mann , Apichatpong Weerasethakul , Park Chan-wook , Kiyoshi Kurosawa , Philippe Garrel , Pedro Costa , Lucrecia Martel and Jose Luis Guerin .

Cinephilia and filmmaking

Throughout the history of cinema, there-have-been Numerous directors Who Developed Their understanding of cinema through filmgoing and participation in communities and organisms cinephile INSTEAD of dans le formal settings of Either a movie school gold movie studio . Directors Who Began as Cinephiles include Jean-Luc Godard , Claude Chabrol , Francois Truffaut , Quentin Tarantino , Jacques Rivette , Ed Wood , Andre Techine , Pedro Costa , Jim Jarmusch , Paul Thomas Anderson , Wim Wenders ,Wes Anderson, Eric Rohmer , Hal Hartley and Aki Kaurismäki .

The directors of the French New Wave , who learned about filmmaking by watching screenings at film clubs and discussing movies among themselves, are often seen as models for cinephiles. Their intellectual omnivorousness , which equates an interest in cinema with strong understandings of literature , art and sometimes philosophy , has continued to have influence on cinephiles [10] .

On the other hand, many directors emphasize their lack of cinephilia or interest in movies. Abbas Kiarostami , popular with cinephiles, often emphasized his disinterest in cinema when interviewed [11] .


Telephilia is a love of television .


It was coined by the New York Times critic Frank Rich, in a pejorative way, as “the pathological longing of Americans, no matter how talentless, to be on television”. [12]


For years, television was frowned upon as inferior to film until the advent of quality television in the 1980s [13] . [14]

Telephilia from 2000’s onwards

Anti-heroic series like The Sopranos and The Wire have been cited as improving the quality of life. [15] [16]

It aussi rivals cinephilia for relevance as Production gains are Higher Than ever before we Shows Such As Breaking Bad and Homeland . [17]

See also

  • Cinemania , a 2002 documentary about New York cinephiles


  1. ^ Jump up to:e of Valck, Marijke; Hagener, Malta, eds. (2005). Cinephilia: Movies, Love And Memory . Amsterdam: Amsterdam University Press. ISBN  90-5356-768-2 .
  2. ^ Jump up to:b Generis, Mas (11 December 2006). “Cinephilia now: review ofCinephilia: movies, love and memory ” . Screening the Past . LaTrobe University (20) . Retrieved November 7, 2009 .
  3. ^ Jump up to:c Keathley, Christian. Cinephilia and history, The wind in the trees. Bloomington: Indiana UP, 2005.
  4. Jump up^
  5. ^ Jump up to:b The ghost of Henri Langlois. Dir. Jacques Richard. DVD. Kino Video, 2004.
  6. Jump up^
  7. Jump up^ The Authors’ Notebook: Anticipating “Public Enemies”
  8. Jump up^ Kenny Glenn: The Mann Act
  9. Jump up^ Movie Comment: Movie Criticism in Crisis Archived2008-12-11 at theWayback Machine.
  10. Jump up^
  11. Jump up^ Abbas Kiarostami (Contemporary Film Directors). New York: University of Illinois P, 2003.
  12. Jump up^ “The Namibian” . .
  13. Jump up^ “Cultivating TV aesthetics” .
  14. Jump up^ Casetti, Francesco; Fanchi, Mariagrazia (17 August 2017). “Cinephilia / Telephilia” . Framework: The Journal of Cinema and Media . 45 (2): 38-41. doi : 10.2307 / 41552408 – via JSTOR.
  15. Jump up^
  16. Jump up^ “Post-network audiences and cable crime drama (PDF Download Available)” . ResearchGate .
  17. Jump up^ Front, Celluloid Liberation. “Telephilia: Has Television Become a More Relevant American Medium Than Art Film?” . IndieWire .