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Cinephilia in Ruins
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Chapter 4 considers the second wave of cinephilia and the art house theater boom particularly in New York City alongside the emergence of underground cinemas intended for the cultural elite (1960–1970). The art house is discussed alongside Robert Moses’s urban development plans for the city, which exemplifies its attempts to sell an illusion of transportation and class and cultural upward mobility. Both kinds of theaters represented versions of cinematic ruins: the art house theater for its debt to luxurious capital, and the underground cinema, like Aldo Tambellini’s Black Gate, for its fallout shelter-like environment. Both are also examples of the kinds of “serious” moviegoing ultimately made possible by Schlanger and neutralization.
Title: Cinephilia in Ruins
Description:
Chapter 4 considers the second wave of cinephilia and the art house theater boom particularly in New York City alongside the emergence of underground cinemas intended for the cultural elite (1960–1970).
The art house is discussed alongside Robert Moses’s urban development plans for the city, which exemplifies its attempts to sell an illusion of transportation and class and cultural upward mobility.
Both kinds of theaters represented versions of cinematic ruins: the art house theater for its debt to luxurious capital, and the underground cinema, like Aldo Tambellini’s Black Gate, for its fallout shelter-like environment.
Both are also examples of the kinds of “serious” moviegoing ultimately made possible by Schlanger and neutralization.
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