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urn:uuid:33d0a518-f82b-46e0-939b-bb4c7b9fb62f 03 15 9781685711610 00 EB E107 10 01 01 Alone in the Dark Cinephilia and the Heroic Imagination 1 A01 Doug Dibbern <bold>Doug Dibbern</bold>’s second book, <italic><ext-link xlink:href="https://punctumbooks.com/titles/cinemas-doppelgangers/">Cinema’s Doppelgängers</ext-link>,</italic> a work of speculative fiction in the guise of a scholarly history of film, was published by punctum books in 2021. His first book, <italic>Hollywood Riots: Violent Crowds and Progressive Politics in American Film</italic> (I.B. Tauris, 2015), won the 2016 Peter Rollins Prize. He’s also published scholarly essays on classical Hollywood filmmakers, film criticism for <italic>The Notebook</italic> at Mubi.com, and literary essays for journals such as <italic>Chicago Quarterly Review</italic> and <italic>Hotel Amerika.</italic> He has a PhD in Cinema Studies from New York University and teaches in NYU’s Expository Writing Program. 01 eng 00 156 03 23 Autotheory 10 BIO026000 12 BM 23 cinema 12 APFA 10 ART057000 23 Cultural Studies+Critical Theory 23 memoir 23 experimental criticism 23 Moving Image 23 cinephilia 23 cinematography 23 Béla Tarr 23 Carl Theodor Dreyer 01 06 03 00 <italic>Alone in the Dark</italic> is an experimental memoir – or perhaps, more accurately, an anti-memoir or fabulist memoir, some unruly combination of essay, prose poem, and floating reverie that examines the relationship between one’s cultural heritage and one’s aesthetic devotions. Unlike a traditional autobiography that details the chronological events of a person’s life, the book begins with the obsessive moviegoing of Dibbern’s early years in New York and then unfurls as a fevered rumination on the role that an excessive love of art plays in shaping ideas about one’s identity.The book opens with the American premiere of the Hungarian filmmaker Béla Tarr’s harrowing, eight-hour-long magnum opus <italic>Sátántangó</italic> in 1998 as an emblematic cinephile experience. Dibbern then frames the book by asking, why would anyone devote the bulk of their waking hours to such a compulsive pursuit of a seemingly passive experience of art? Sitting alone in a darkened movie theater, he suggests, is not a passive, but a creative act: developing an aesthetic taste, after all, is central to defining our identities. And taste is the product of two contradictory impulses: the will to simultaneously embrace and escape the values of our cultural backgrounds that made us who we are.With these conjectures as the jumping-off point, the book commences its discursive explorations, wending and weaving between topics as diverse as Carl Jung’s theories of the collective unconscious, Carl Theodor Dreyer’s <italic>Ordet,</italic> old family photo albums, nineteenth-century immigration to North Dakota, the actress Gena Rowlands’s histrionic mental breakdowns, the self-portraits that the Mandan chief Mato-Tope made in the 1830s, and the dizzyingly joyful suicidal games in Howard Hawks’s film about aviation,<italic> Only Angels Have Wings.</italic> punctum books 01 punctum books 04 01 20240415 02 WORLD 06 15 9781685711603 06 15 9781685711610 WORLD 09 punctum books 20 01