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The era also saw the growth of college film societies in the US.Though some, like Doc Films at the University of Chicago, had existed since the 1930s, the 1960s saw directors of all generations regularly make appearances at college campuses, whether to revisit their old films or to discuss new ones.At the same time, the Parisian cinephilic culture became increasingly politicized.Critics, and by extension the cinephiles who followed their work, began to emphasize political aspects of films and directors.André Bazin, François Truffaut, Jacques Doniol-Valcroze, Claude Chabrol, Jean-Luc Godard, Alexandre Astruc, Jacques Rivette, Luc Moullet and others were regulars, and several, most notably Truffaut, maintained their ties to the community after they had achieved fame.The community fostered an interest in directors and films that had been neglected, forgotten or simply unknown in the West, and led to the development of the auteur theory.We will Email your references and once they have emailed us your reference then we will follow-up with phone calls where appropriate.IF YOU DO NOT HEAR FROM US THEN WE HAVE Instructions: If you already know a Matchmaker on the site who can be used as a reference for you then please indicate the Matchmakers name below.
At the beginning of the sound era, there were more and more people interested in seeing older films, which led to the establishment of organizations such as the Cinémathèque Française, the first major archive devoted to film preservation.
Perhaps the most notable cinephilic community of the 20th century was the one that developed in Paris in the decades following World War II.
An influx of foreign films that had been withheld during the Occupation, as well as the screening programs of local film clubs and the Cinémathèque Française, generated interest in world cinema amongst the city's intellectual youth culture.
The directors the French cinephiles of the period had strong interests in included F. Murnau, Robert Flaherty, Sergei Eisenstein, Jean Renoir, Jean Vigo, Orson Welles, Anthony Mann, Louis Feuillade, D. Griffith, the Lumière Brothers, Alfred Hitchcock and Georges Méliès, whose films would be screened from nitrate prints on special occasions.
The Italian director Federico Fellini, a fashionable figure in the United States during the 1960s and 1970s, owed part of his popularity to the support of film critics and the distribution of foreign films in order to accommodate the increasingly sophisticated public.