Death, beauty, and iconoclastic nostalgia: Precarious aesthetics and Lana Del Rey

by Arild Fetveit Lana Del Rey’s April 2013 music video Summer Wine, released at a time when she was among the hottest names in popular music and had some of the most prestigious music video directors at her fingertips – among them Anthony Mandler, who made the music videos for Ride (2012) and National Anthem (2012) […]

No time like the past?: On the new role of vintage and retro in the magazines Scandinavian Retro and Retro Gamer

by Kristian Handberg ‘Detta är retro, [holding up 1960s lamp] detta är inte retro.’ [holding up a 19th century chandelier] (This is retro, this is not retro). – Scandinavian Retro chief editor Magnus Palm in the video Vad är retro? (scandinavanretro.com)   ‘Back to the Eighties’ ‘Back to the Nineties’ (permanent features in Retro Gamer […]

Retro, faux-vintage, and anachronism: When cinema looks back

by Stefano Baschiera and Elena Caoduro The vintage style, the reproduction and reclamation of past fashions, original objects, and old looks, is a highly commoditised phenomenon. Though its contemporary meaning developed with the second-hand clothing trend in the late 1980s, vintage has become mainstream in the early 21st century and has expanded beyond the fashion […]

Locating vintage

by Kim Knowles – She said I looked like a 1950s housewife – Well your dress is slightly anachronistic – What? It’s vintage I’ll have you know! – I know, but being vintage doesn’t make it attractive. During a party scene in Xavier Dolan’s film Les Amours Imaginaires / Heartbeats (2010) the two twenty-something characters […]

A theoretical approach to vintage: From oenology to media

by Katharina Niemeyer Research on vintage as both a term and a concept and its historical emergence in the field of fashion and flea markets in Europe and the United States is already well-established, particularly regarding the subcultural nature of vintage, its relation to hipsters, the difference between vintage and second-hand clothes, and its identification […]

Temps mort: Speaking about Chantal Akerman (1950-2015)

by Eric de Kuyper and Annie van den Oever On 5 October 2015 the esteemed Belgium filmmaker Chantal Akerman passed away unexpectedly. Her sudden death created an outpouring of tributes in journals and blogs all over the world, full of sadness about the loss of an extraordinary  filmmaker who has been celebrated ever since she […]

Selling film in the summer of 2015: Midnight Sun, Il Cinema Ritrovato, and Karlovy Vary

In the summer of 2015 I undertook an eight-week journey from Istanbul to Paris (part of a year-long research project documented on my blog The Itinerant Cinephile[1]) that involved visits to film festivals, independent theaters, and exhibition venues throughout the United States and Europe. With the practice of public movie-going imperiled as never before, I […]

Editorial Necsus

Vintage is everywhere. Ranging from vintage design to vintage cloths and vintage media, in our contemporary culture ‘the old rebranded as new’ and ‘the new rebranded as old’ are a striking phenomenon – but what kind of relationship to or longing for the past does ‘vintage’ indicate? Retro nostalgia and other memory practices that can […]

Made in Peru: Lima Film Festival comes of age

The Festival de Cine de Lima (Lima Film Festival) was launched in 1997 as ‘elcine’ with ten days of screenings composed of 21 features and 38 shorts from ten Latin American countries alongside a three-day event in the southern city of Arequipa. Over 15,000 spectators attended what was described by its organisers as an ‘unprecedented […]

Agamben’s cinema: Psychology versus an ethical form of life

by Janet Harbord What does the work of Giorgio Agamben bring to an understanding of cinema? A political philosopher known predominantly for the ongoing project of works that comprise the Homo Sacer series,[1] Agamben also writes about cinema. However, the relationship between the political determination of his work and the essays on cinema is not […]

Strong positioning on the international festival circuit: An interview with Diana Iljine of Filmfest München

By setting a new attendance record, showing remarkable growth in the number of film professionals and media representatives, as well as a significant increase in media coverage, the 33rd Filmfest München (25 June – 4 July 2015)[1] confirmed its growing relevance as the second largest film festival in Germany. In addition, the introduction of two […]

The way we watched: Vintage television programmes, memories, and memorabilia

by Helen Piper ‘People die, sure,’ my mother was saying. ‘But it’s so heart-breaking and unnecessary how we lose things. From pure carelessness. Fires, wars. The Parthenon, used as a munitions storehouse. I guess that anything we manage to save from history is a miracle.’ – Donna Tartt, The Goldfinch[1] Formal histories of television and […]

Theaters: Cinematic vintage magnified

The pictures gathered in the photographic series Theaters are the perfect attempt to exemplify the challenging task to find a crystallised form to cinematic duration. Analog in their technique, they not only represent the impressed trace of an instant in which the authors freeze an existing referential index, but they actually feed the rich debate […]

Dredging, drilling, and mapping television’s swamps: An interview with John Caldwell on the 20th anniversary of ‘Televisuality’

by Markus Stauff It has now been 20 years since John Caldwell’s Televisuality: Style, Crisis and Authority in American Television was published. With its combined attention to television’s aesthetic, economic, and technological aspects, it was a highly innovative book that questioned a great deal of conventional wisdom. The book’s central claim that, during the 1980s, […]

Richard Serra: Sculpture, television, and the status quo

by Francesco Spampinato Introduction Richard Serra emerged in the 1960s in association with minimalism and land art – two conceptual art movements that speculated on the potentialities of sculpture to affect the space (and therefore the context) in which the work of art is installed or for which it is specifically conceived. Similarly to other […]