Stéphanie Louis’ book, La cinématheque musée, une innovation cinéphile au coeur de la
patrimonialisation du cinema en France, published in March of 2020, spans from the early days of the Cinémathèque Française in the wake of the Second World War to the late 1960s. Chronicling the advent of both mainstream and specialist interest in cinephile heritage over the greater part of three decades, this essential work explores the manner in which the origins of cinematographic museums and institutions transformed the experience of and around film viewership in France, as well as the role of film heritage in the fabric of contemporary French cultural identity.
As part of a new project from the ACE in the promotion of new and significant publications in the field of cinema scholarship, Anna Fiaccarini of Il Cineteca di Bologna spoke with Stéphanie Louis on Monday, the 19th of July about her research. ‘The effect of showing, in this historic work of research, the development of cinematheques everywhere, but in France, clearly, and the prime example of the Cinématheque Française, is how these developments had a strong influence on the practice of cinephilia,’ Fiaccarini said, urging archivists, scholars, and institutions to include the volume in their collections. ‘I have also borrowed the words of Donata Pesenti Campagnoni, who wrote a very nice presentation on Stéphanie’s volume in The Journal of Film Preservation (this summary and additional materials on the text can be accessed on the Association française de recherche sur l’histoire du cinéma’s website) in October of 2020. It is very interesting, because like Donata said here, we really come to understand how we have arrived at this world of cinematheques today, and why we watch and re-watch heritage films.’