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

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).

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