Beteiligte: | , |
---|---|
veröffentlicht: | Amsterdam University Press 2015 |
Teil von: |
NECSUS. European Journal of Media Studies 4 (2), 143–163. DOI: https://doi.org/10.5117/NECSUS2015.2.BASC.
|
Medientyp: | Artikel, E-Artikel |
veröffentlicht in: | NECSUS. European Journal of Media Studies 4 (2), 143–163. DOI: https://doi.org/10.5117/NECSUS2015.2.BASC. |
---|---|
Sprache: | Englisch |
Teil von: |
NECSUS. European Journal of Media Studies 4 (2), 143–163. DOI: https://doi.org/10.5117/NECSUS2015.2.BASC.
|
Schlagwörter: | |
Kollektion: | media/rep/ - Repositorium für die Medienwissenschaft |
This article explores the definition of ‘vintage cinema’ and specifically re-evaluates 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). |