Cycnos | Numéros | Volume 34.1 - Les représentations de la cinéphilie

Titre alternatif :

Vitalité et mélancolie de la cinéphilie à la télévision : de Cinéastes de notre temps à Cinéma, Cinémas

Résumé :

International audience

No other television shows that Cinéastes de notre temps, and Cinéma, Cinémas have paid such a tribute to cinephilia, its melancholy, its "smuggling culture", its authors, those who have chosen to make films and to live with cinema. (Relating to a very different energy, episode after episode, one rediscovers the rituals, the emotions, but also a feeling of fragility of the moviegoers ). The rituals, the emotions as well as a feeling of fragility of cinephilia are rediscovered there. From the early 1960s to the late 1980s, the relationship to cinema was no longer the same. Cinéastes de notre temps is played in the "present", and aims at talking about cinema being made and about the appearance of a new generation of movie makers. On the other hand, the legendary collection Cinema, Cinemas offers a nostalgie version of the myths and rituals still present but about to disappear. At the very moment when cinephilia no longer has a central place in French society, the love of cinema vibrates from one program to another and can be seen as the temple of moviegoers. It seems now to be important to apprehend the cinematographic culture while talking about its first medium of diffusion: television.

Mots-clés : cinephilia of the 60's and 80's, television, André S. Labarthe, Jean-André Fieschi, Cahiers du cinéma, Cinéastes de notre temps, Michel Boujut, Cinéma, Cinémas, history of French shows on cinema, fetishization of authors and stars, melancholia, aesthetic, credits analysis, Adieu Rita, Godard Blues, John Cassavetes, Pier Paolo Pasolini

Date de publication : 2018-01