Retro, faux-vintage, and anachronisme: when cinema looks back
| dc.contributor.author | Baschiera, Stefano | en |
| dc.contributor.author | Caoduro, Elena | en |
| dc.date.accessioned | 2017-10-26T14:46:42Z | |
| dc.date.available | 2017-10-26T14:46:42Z | |
| dc.date.issued | 2015-12-05 | |
| dc.identifier.citation | Baschiera S, Caoduro E (2015) 'Retro, faux-vintage, and anachronisme: when cinema looks back', NECSUS. European Journal of Media Studies, 4 (2), pp.143-163. | en |
| dc.identifier.issn | 2215-1222 | |
| dc.identifier.uri | http://hdl.handle.net/10547/622333 | |
| dc.description.abstract | This article explores the definition of ‘vintage cinema’ and specifically reevaluates the fetishism for the past and its regurgitation in the present by providing a taxonomy of the phenomenon in recent film production. Our contribution identifies three aesthetic categories: faux-vintage, retro and anachronistic; by illustrating their overlapping and discrepancies it argues that the past remains a powerful negotiator of meaning for the present and the future. Drawing on studies of memory and digital nostalgia, this article focuses on the latter category: anachronism. It furthermore unravels the persistence of and the filmic fascination for obsolete analogue objects through an analysis of Only Lovers Left Alive (Jim Jarmusch, 2013). | |
| dc.language.iso | en | en |
| dc.publisher | Amsterdam University Press | en |
| dc.relation.url | https://necsus-ejms.org/retro-faux-vintage-and-anachronism-when-cinema-looks-back/ | en |
| dc.rights | Green - can archive pre-print and post-print or publisher's version/PDF | |
| dc.subject | Nostalgia | en |
| dc.subject | vintage | en |
| dc.title | Retro, faux-vintage, and anachronisme: when cinema looks back | en |
| dc.type | Article | en |
| dc.contributor.department | University of Bedfordshire | en |
| dc.contributor.department | Queen's University Belfast | en |
| dc.identifier.journal | NECSUS. European Journal of Media Studies | en |
| dc.date.updated | 2017-10-26T14:01:08Z | |
| dc.description.note | Pre-April 2016 so full text not required. | |
| html.description.abstract | This article explores the definition of ‘vintage cinema’ and specifically reevaluates the fetishism for the past and its regurgitation in the present by providing a taxonomy of the phenomenon in recent film production. Our contribution identifies three aesthetic categories: faux-vintage, retro and anachronistic; by illustrating their overlapping and discrepancies it argues that the past remains a powerful negotiator of meaning for the present and the future. Drawing on studies of memory and digital nostalgia, this article focuses on the latter category: anachronism. It furthermore unravels the persistence of and the filmic fascination for obsolete analogue objects through an analysis of Only Lovers Left Alive (Jim Jarmusch, 2013). |