Stanislas Cordova

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Cinephilia can take the form of an insatiable hunger, an obsession that continually demands for more – films that cater to more exclusive and refined taste, more resurrected annals of long-forgotten film histories, and more works that pose ever-escalating challenges to the dominant language of cinema. It is no revelation to observe that the Internet has realized a newfound framework for such obsession, like a magic well that promises an endless depth of access to knowledge about obscure, lesser known, or forgotten works. The Internet is not a space where filmic knowledge is publicly available; it is a space where potential knowledge can be excavated and contested over. The game of happenstance is addictive precisely because it carries an eternal promise of more. It is this type of cinephilia that accompanies the recent emergence of several obscure auteurs in web, literary, and moving image culture. One is an Italian-American sicko visionary whose approach to giallo-style torture porn marries the snuff film with high cult art cinema. Another is a Russian émigré whose obsessive Kubrick-on-steroids brand of perfectionism arguably oversaw some of the greatest British films ever made. Yet another is Charles Manson meets Tobe Hooper, a schlocky and gore-obsessed B-auteur and countercultural burnout whose communal approach to filmmaking blurs the line between events behind and in front of the screen. But none of these filmmakers ever existed. All were invented to explore the myth of the genius auteur in the complete absence of an actual body of work to talk […]

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