Retro, faux-vintage, and anachronism: When cinema looks back at Its Analogue Past

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This article explores the definition of ‘vintage cinema’ and specifically re-evaluates 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: the faux-vintage, the retro and the anachronistic and 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 and unravel the persistence of and the filmic fascination for obsolete analogue objects through an analysis of Only Lovers Left Alive (Jim Jarmusch, 2013).
Original languageEnglish
JournalNESCUS: European Journal of Media Studies
Publication statusPublished - 05 Dec 2015



  • anachronism
  • Obsolescence
  • nostalgia
  • analogue

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