Just to go back to the merging of cinephilia and fandom, the fusion of the discourses is further illustrated here, in Brows Held High’s review of F for Fake. It displays precisely the fusion of the intellectual engagement of cinephilia, with it’s reflections on authorship and the status of the author as exposed in film, with the textual playfulness of fandom I’m talking about. It is a reaction to a film in which the guy says something about film and art. Thus there is a rhyzomic element to it; it’s both a display of filmic love and an analysis of film and the love of film at the same time. As I said in my entry on his appraisal of Klingon Hamlet, this guy displays a deep intellectual engagement with film – he uses film to say things about film, just as the cinephiles did/do – but with all the playfulness of fandom. By examining Welles’ film about forgery in art, he teases out ideas and arguments surrounding Auterism in film and the status of the artist, using the film to say something about art and film as an art: He uses film as a vehicle to reflect on the nature of film itself, just as the Cahiers group did, but does so in snappy Youtube videos. This is precisely the hybrid of the two discourses I speculate about in my masters thesis. You can probably tell, I’m quite fascinated by the videos he makes.