25th Edition FilmForum 2018 XXV International Film Studies Conference XVI MAGIS International Film Studies Spring School
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FilmForum 2018 February 28th – March 7th
FilmForum 2018
XXV International
Film Studies Conference
XVI MAGIS International
Film Studies Spring School
25th Edition
per bozzone.indd 1 15/02/18 12:08
filmforum/2018 Gorizia/Udine/Pordenone, February 28th – March 7th XXV International Film Studies Conference Exposing the Moving Image: the Cinematic Medium across World Fairs, Art Museums, and Cultural Exhibitions Gorizia, February 28th – March 3rd XVI MAGIS – International Film Studies Spring School At the Edge of Nobody’s Empire: Media, Politics, and Representations Gorizia, March 3rd – 7th Fondazione Cassa di Risparmio di Gorizia, via Carducci 2, Gorizia Polo Santa Chiara, via Santa Chiara 1, Gorizia Palazzo del Cinema – Hiša Filma, Piazza Vittoria 41, Gorizia Dipartimento di Studi umanistici e del patrimonio culturale, Vicolo Florio 2/b, Udine Cinemazero, Piazza Maestri del Lavoro 3, Pordenone
Colophon/Contents
filmforum/2018 Telematica San Raffaele – Roma), Potsdam/Universität Potsdam), Accommodation: Castronuovo, Diego Cavallotti,
Federico Zecca (Università degli Giovanni Grasso, Simone Martina Pizzamiglio Alessandro Del Puppo, Mattia
Coordinator: Studi di Bari “Aldo Moro”) Venturini (Università degli (Associazione Palazzo del Filigoi, Matteo Genovesi,
Simone Venturini Studi di Udine) Cinema – Hiša Filma) Andrea Mariani (Università
(Università degli Studi di Udine) Cinema and Contemporary Arts: degli Studi di Udine)
Simone Dotto, Lisa Parolo, Organisation: Screenings Coordinator:
XXV International Film Paolo Villa (Università degli Martina Scrignaro, Maurizio Giovanni Grasso (Università Limina Award:
Studies Conference – Exposing Studi di Udine), Vincenzo Pisani, Loris Nardin, Vilma degli Studi di Udine) Mariapia Comand, Paolo Villa
the Moving Image: the Cinematic Estremo (Nuova Accademia Spelat, Arnaldo Spessotto, (Università degli Studi di
Medium across World Fairs, Belle Arti, Milano), Francesco Daniela Fabrici (Dipartimento Screenings and Special Events: Udine), Valentina Re (Link
Art Museums, and Cultural Federici (Università Iuav di di Studi umanistici e del Raffaella Sgubin Campus University, Roma)
Exhibitions Venezia), in collaboration with patrimonio culturale), Carlo (Sovrintendente ai Musei
Viva Paci (labdoc, GRAFICS, Carratù (CEGO – Università Provinciali di Gorizia), Elda Press:
Scientific Coordinators: Université du Québec à Montréal) degli Studi di Udine), SCOM Felluga (Azienda Vinicola Livio Yes!Comunic@ (Università
Diego Cavallotti, Simone Dotto, – Università degli Studi di Felluga), Maria Rebecca degli Studi di Udine)
Andrea Mariani, Leonardo Media Archaeology: Udine, Chiara Canesin, Ballestra, Giorgia Gastaldon
Quaresima, Simone Venturini Diego Cavallotti, Andrea Associazione Palazzo del (Labrys), Marco Bertozzi, Media Team Coordinator:
(Università degli Studi di Udine) Mariani, Simone Venturini Cinema – Hiša Filma, Mirco Francesco Federici (Università Luca Chinaglia
(Università degli Studi di Udine) Santi, Paolo Simoni Iuav di Venezia), Hans-Michael
Scientific Committee: (Associazione Home Movies – Bock (CineGraph, Hamburg), Website:
Mariapia Comand, Francesco Post-Cinema: Archivio Nazionale del Film di Oliver Carter (Birmingham Nello Polesello
Pitassio, Leonardo Quaresima, Videogame/Animation/Comics: Famiglia), Michael Centre for Media and Cultural
Cosetta Saba, Simone Venturini Alberto Brodesco (Università Castronuovo, Diego Cavallotti, Research, Birmingham City Technical direction:
(Università degli Studi di Udine), degli Studi di Trento), Marco Comar, Mary Comin, University), Letizia Gatti Gianandrea Sasso (CREA –
Sara Martin (Università degli Federico Giordano (Università Simone Dotto, Mattia Filigoi, (Reading Bloom Distribution), Università degli Studi di
Studi di Parma), Federico Telematica San Raffaele – Matteo Genovesi, Giovanni Heike Klapdor (Berlin), Macha Udine), Marco Comar
Zecca (Università degli Studi di Roma), Ludovica Fales Grasso, Lisa Parolo, Marie Ovtchinnikova, Antonio (CINEMANTICA –
Bari “Aldo Moro”) (University of West London), Rebecchi, Massimiliano Studer, Somaini (Université Sorbonne Università degli Studi di Udine)
Michael Castronuovo, Mattia Paolo Villa (Università degli Nouvelle – Paris 3), Mirco
XVI MAGIS – International Filigoi, Matteo Genovesi Studi di Udine), Enrico Biasin Santi, Paolo Simoni Technical assistance:
Film Studies Spring School – (Università degli Studi di Udine) (University of Bristol), Alberto (Associazione Home Movies – Sandro Zanirato, Jaki Rener,
At the Edge of Nobody’s Empire: Brodesco (Università degli Archivio Nazionale del Film Valentina Roldo (Transmedia
Media, Politics, and Porn Studies: Cartography Studi di Trento), Vincenzo di Famiglia), Mauro Salvador Spa)
Representations of Pornographic Audiovisual: Estremo (Nuova Accademia (Università di Bologna –
Enrico Biasin (University Belle Arti, Milano), Ludovica Associazione GAME-S), Editorial supervision:
Scientific Coordinators: of Bristol), Giovanna Maina Fales (University of West Maria Teresa Soldani (Centro Margherita Merlo
Diego Cavallotti, (Università degli Studi London), Francesco Federici Arte Contemporanea Luigi
Simone Venturini (Università di Sassari), Federico Zecca (Università Iuav di Venezia), Pecci, Prato), Elena Testa, Layout:
degli Studi di Udine) (Università degli Studi di Bari Federico Giordano (Università Sergio Toffetti (Archivio Marco De Anna
“Aldo Moro”), in collaboration Telematica San Raffaele – Nazionale del Cinema (Comunicazione – Università
Steering Committee: with Rosanna Maule (GRAFICS, Roma), Giovanna Maina d’Impresa – CSC), Federico degli Studi di Udine)
Diego Cavallotti, Simone Dotto, Concordia University) (Università degli Studi di Zecca (Università degli Studi
Andrea Mariani (Università Sassari), Federico Zecca di Bari “Aldo Moro”), Giovanna Graphics:
degli Studi di Udine), The Film and Media Heritage: (Università degli Studi di Bari Maina (Università degli Studi di Stefano Ricci
Giovanna Maina (Università Hans-Michael Bock (CineGraph, “Aldo Moro”) Sassari), Federico Giordano
degli Studi di Sassari), Hamburg), Jan Distelmeyer (Università Telematica San
Federico Giordano (Università (Fachhochschule Raffaele – Roma), Michael
Contents Call for Papers XXV International Film Studies Conference February 28th – March 3rd XVI MAGIS – International Film Studies Spring School March 3rd – 7th Screenings February 28th – March 6th
XXV International Film Studies Conference Exposing the Moving Image: the Cinematic Medium across World Fairs, Art Museums, and Cultural Exhibitions Gorizia, February 28th – March 3rd Drawing on the outcomes of the project “A History of Cinema Without Names”, for the XXV Edition of our International Film Studies Conference, we decided to apply those epistemological and methodological tools stemming from our three-year-project to a specific object. In other words, this proposal has to be considered as the “first step” of the second part of “A History of Cinema Without Names”, which will be steered by a more applicative effort. This new project will be named Exposing the Moving Image: the Cinematic Medium across World Fairs, Art Museums, and Cultural Exhibitions. It aims to shed light on the meaningful interrelations between moving images, media and arts throughout modernity and postmodernity – which means during the “pre-cinema, cinema and post- cinema” eras, with a specific focus on Universal Expositions. In fact, universal expositions proved to be crucial for the investigations on the emergence of the cinematic medium and on its fluctuant re-configurations within the broad “media landscape” of the modern era. Firstly, they configure themselves as an institution in which moving images are elaborated – and, as Georges Didi-Huberman stated, institutions establish the first layer through which we regulate access to images (Eco, Augé, Didi-Huberman 2015). Historically, World Fairs are not only places of self-reflexion, self-representation and self-promotion, but also moments of “identity construction” for a social community. They configure themselves as arenas of interdisciplinary exchanges and of cultural eclecticism (Jeffrey T. Schnapp 2012). Not by chance, French historian Pascal Ory discussed eight multi-layered, recurrent and basic functions for these events, which correspond to eight across-the- board “functions of modernity” (Ory 2010): technological, commercial, architectural, urbanistic, artistic, propagandistic, diplomatic, and the popular/playful one. Thus investigating the role of the moving image in this context means to - problematize the “exhibition frameworks and forms” as strategies for the legitimization and institutionalization of the moving image culture (Hagener 2007); - to put the cinematic medium and the moving image in relation to other cultural and industrial functions: for instance, given the significant role international “Expos” have been playing in representing “other” cultures and displaying ethnographic findings, world fairs and universal exhibitions could represent a major concern for retracing connections between the moving image and the anthropological discourse (especially as regards non-western visual cultures); - to show how cinema has taken part (until nowadays) in the economic cycle, configuring itself as a useful tool for commerce within the large “expo and world’s fair context”. Consequently, the Exposing the Moving Image: the Cinematic Medium across World Fairs, Art Museums, and Cultural Exhibitions project discloses three major research paths for media and cultural scholars: - by granting a deep time perspective (Zielinski 2006), to stress the redundancies, recurrences and variations of moving image apparatuses and devices from the very beginning of the “Universal Exposition experience” until nowadays. In this sense, our general frameworks will be the archaeology of the mobile vision and the archaeology of screens, displays and technological novelties (Huhtamo 2013); - to highlight how audiovisual texts (film, analog videos, digital videos, and so on) and, more broadly, the moving image work within these exhibition contexts in an inter-medial and inter-textual way – more specifically “across” and/or “outside” the “movie theatre context”; - by maintaining a global scope, to stress the advantages of an intertwined approach to wide media- phenomena in the wake of the so called “entangled history”, which “implies a shift of attention
towards the interconnectedness of the world we live in”: entangled history opens the focus on XVI MAGIS – International Film Studies Spring School
interaction, interdependence and complexity” and aims to overcome a mere comparative approach At the Edge of Nobody’s Empire: Media, Politics, and Representations
(Hagener 2015); Gorizia, March 3rd – 7th
- to understand how the materiality of the “exposed moving images” represents a key-feature capable
of shedding light on specific “regions” of the “visual texture” (Bruno 2016) of contemporaneity; In the past years, the interrelationships between media, politics, and representations played a crucial
- to understand how these images took (and still take) part in the long-lasting effort to pinpoint the role in the media studies debate. Drawing on this debate, we aim to reflect upon the ways in which
coordinates of our “visual experience” from the XIXth century, alongside with cinema and visual arts media constantly reshape communities, identities, cultural and aesthetical representations, becoming
(Stoichita 2015). “ideological agents” rather than neutral tools. Thus, the next edition of the Spring School will be
devoted to the relationships between media, politics, and representations – more specifically, we aim
This kind of epistemological framework, which stems from an historical investigation of World Fairs to thoroughly investigate their implications and, at the same time, to extend them, trying to pinpoint
and International Exhibitions, can be applied to other modalities of “exhibiting and exposing” cinema. their cultural/aesthetical, socio-political, and historical layers.
In other words, the shift towards the notion of entangled history through a “deep time” investigation From the cultural and aesthetical point of view, we aim to understand how the interrelationships
(Zielinski) and a “screenological” approach (Huhtamo) could be a proper tool that highlights how between media, politics, and representations evoke their own “cultural techniques” in “articulating the
musealisation processes affected – and still affect – past and contemporary cinematographic practices, real” (Siegert 2015). In fact, media, politics and representations engage in dialogue with the notion of
shaping exhibition modalities that are “always already new”. “realism”, “mimesis”, “authenticity” and “living beings and forms” as techniques that “model” our sense
Thus, although our CFP is more focused on the use of the cinematic medium within the World Fairs of present and our sense of past, creating, at the same time, identities (related to sex, gender, or race),
and International Exhibitions context, we will also welcome proposals regarding the use of moving communities, and the historical evidences that shape their histories. More broadly, we will investigate
images in other exhibition contexts: the first and more obvious references are, of course, the transition the interrelationships between cultural identities and media production (Hall 1997); how cinema and
from cinema to museum, film installations, the exposed cinema, the “expanded” or “extended” cinema, audiovisual media have been used in the past to shape our “perception” and our sense of “identity”;
and so on. how cinema and audiovisual media have been (and still are) used to perform these identities, often
In other words, we aim to map the possible interrelationships between the notion of moving image building cultural remedies against their (metaphorical) “calcification” and “illness” – especially when
and the notion of “exhibition” in the broadest possible sense. Not by chance, then, we will welcome these identities relate to cultural and individual carriers of memories (Rousso 1991).
proposals regarding also small-gauge film and amateur technology exhibitions, art exhibition contexts, From the socio-political point of view, we will question how the media have become able to create a
professional technical objects exhibitions, visualization modalities for “film exhibitions”, digital media “sense of belonging to a community” and, at the same time, to shape specific power/knowledge relations.
exhibitions, exhibition practices in non-art museums, and so on. The call-for-paper would then revolve around how the media take (and took) part in the microphysics
In this sense, we will try to answer the following questions: how have films and film technologies been of power (Foucault 1973-74) and biopolitics (Foucault 1977-1978). Moreover, drawing on an
exposed not only in “aesthetically relevant contexts”, but also in “culturally relevant contexts”? Did “intersectional” perspective (Crenshaw 2018), we will explore the complexity of the interrelationships
these cultural expositions develop “working objects” (Daston, Galison 2007) that affected specific between sex, gender and race through the “looking glass” of media production. More specifically, we
cultural and scientific fields throughout modernity and post-modernity? Which are the consequences will reflect upon the different ways in which the media take (and took) part in the dialectic between
of certain “dislocative” and “paracinematic” practices (Levi 2012) stemming from cultural exhibitions centre and margin (hooks 2015 [1989]) as regards sex, gender and race representations. Lastly, on the
of cinematic artefacts and technologies? Which means: how do film and film technology expositions opposite side, we will welcome analyses on the role of the media in the colonization and exteriorization
work in didactic contexts (such as experimental media-archaeology laboratories, for instance) or in of knowledge realized by “cognitive capitalism” (Stiegler 2010), especially artistic and cultural
cultural exhibitions (such as in film culture and film heritage institutions exhibitions apparatuses, productions.
industrial archaeology exhibitions, technology exhibitions, and so on)? From the historical point of view, drawing on Carlo Ginzburg’s reflections on the notions of true, false,
and fictive (2006) and on his criticism of Hayden White’s metahistory, we will try to understand how
the interrelationships between media production, socio-political representations, the notion of
community and the notion of margin allow us to reflect on history as a discipline that is inherently
linked to the concepts of uncertainty, of fragment, of ruins and of discontinuity, rather than to the
sense of coherence that stems from a well-structured “historical novel”. In other words, we seek the
ways to understand how the media affect the epistemological and methodological tensions between
present and past, between contemporaneity and history, between evidences and reconstructions of the past,
between objectivity and subjectivity, between powerful and dominated subjects, which engage in dialogue
with the ideological conditions of “writing history”.
Cinema and Contemporary Arts – The Arts of Documentary of agencement by Deleuze and Guattari (Deleuze, Guattari 1980) to the field of film and media studies
Starting from the growing concerns about what is “truth” and what comes after it, the Cinema and (Casetti 2016), we will target the ways in which the technical basis of the dispositif engage in dialogue
Contemporary Arts Section takes its cue from the reflection recently launched by Erika Balsom and Hila with “key notions or types-notions [...], which at a given historical moment come to define a given
Peleg in their edited volume Documentary Across Disciplines (2016), in order to investigate the very complex dispositive”, and with the social and political stances of a specific timespan/geographical context. More
definition of the documentary image in documentary practice. specifically, we will focus on how the dispositif/agencement shapes “political subjectivities” and, vice-
In 2001 the artist and theorist Hito Steyerl has defined the documentary mode as something always versa, how these subjectivities “perform” the dispositif, thereby transforming it.
doubtful: according to the German artist, the uncertainty of the documentary is a lack that shall not be Moreover, we would like to stress the importance of the notion of “power” in respect to technological
hidden since it constitutes its core quality. Is it possible to define what a documentary really is? Don’t we hardware and software: power as “life” of a technology; power as the “energy” set free by technological
constantly challenge the way we document something just with the mere act of describing it? apparatuses, etc.
Addressing the main topic of the XVI MAGIS International Film Studies Spring School, the Cinema
and Contemporary Arts section invite scholars and students to explore how the interrelationships More specifically, we will welcome proposals on the following topics:
between media, politics, and images articulate the reality in a time of global tension, within a framework - media technology and microphysics/biopolitics;
where contemporary documentary practices are already characterized by a substantially flowing nature. - media dispositif/agencement and agency: media dispositifs and “media gestures”, media and cultural
Moreover, we encourage reflections on the problematic streaming of contemporary documentary agencies in the second half of the XXth century and in the XXIst century, media hacking, media and
practice across different media and disciplines, in order to put in evidence the shift between spaces and protests/strikes, etc.;
time in contemporary documentary experiences. - media technologies of gender: media technology and Feminist Theory, discourses on media practices
With these premises, we encourage papers that deal with (but are not restricted to) the following topics: and gender;
- The use of historical “documents” and/or audiovisual “documentary” items in an exhibition context; - media technology and Critical Race Theory;
- The relationship between documentary and contemporary arts; - media technologies and networks in post-industrial societies;
- The use of “documentary images” in a contemporary art context; - technologies, hardware and bodies: technology and embodiment, cyborgs, simians, cyberpunk culture,
- The new politics of documentary; zombie media, etc.;
- Spatial montage in relation with documentary practices; - media technology and the everyday life: amateur practices and power relations in the XXth century
- The relation between true and false in documentary filmmaking. and XXIst century, discourses on media in everyday life; media hardware bricolage, hardware
assembling/dismantling, hardware as a black box, etc.;
The Film and Media Heritage – Revolutions. Politics and Media - power and energy: “how integrated are the circuits between physical modes of energy and physiological
Political changes and radical social upheavals seem to be a welcome topic in traditional popular media sources, between physiology and the psyche” (Elsaesser 2016); power and the impact of connectivity,
like literature and film. Through and with ongoing alterations different forms of change – historical, technological acceleration and the redefinition of temporality in the technological turbo-capitalistic
current and desired ones – can be handled. One example is the era between the French Revolution of societies (Crary 2013) etc.
1789 and the widespread democratic upheavals across Europe in 1848, that has motivated and inspired
both contemporary artists and literary figures between the late XVIIIth century and the present as well Porn Studies – Pornography. Margins and Extremes
as filmmakers of the XXth century, trying to cope with their own realities under diverse regimes. In the 2018 edition of the Gorizia Spring School, the main objective of the Porn Studies section is to
Examples like these lead us to the basic question, how the correlation between politics and popular explore the margins and extremes of pornography in contemporary mediasphere, as well as in its
media could be theorized and exemplified. How can we consider and explain the – often intuitively historical developments.
assumed – impact, social and political developments have on contemporary narrations? What is The notions of margin and marginality may refer to “the place of repressed or subordinated textual
affecting the complex interdependency between politics and media? And how does this complex, on meanings” (Brooker 2003: 152), but also to the specific position of non-mainstream intellectuals,
the other hand, affect our ways of writing and archiving media history. subjects and social groups. In this sense, margin(ality) can either be a place of alienation, social
exclusion, and normative oppression or a “space of radical openness” and a “position and place of
Media Archaeology – Technologies of Power / Power of Technology resistance” (hooks 2015 [1989]: 228, 231; see also: Walker 1999), from which it is possible to re-
Drawing on the theoretical frame elaborated during the last FilmForum (more specifically, as regards articulate dominant discourses and produce new meanings and interpretative perspectives. At the same
the notion of technological network), in the XVI Edition of our Spring School the Media Archaeology time, extremities and extremes can be understood in Foucauldian terms as places in which power
section will focus on the two-fold concept of “technologies of power / power of technology”. In other becomes “capillary” (Foucault 1980: 39) and productive – that is where power is materialized in actual
words, we aim to investigate how technological devices have taken shape in past and contemporary practices and produces real effects (Colucci 2004: 128) on bodies and subjectivities.
media landscapes in forms of “power” – a system for gathering consensus, for repression, for developing In our view, pornography can be understood as both a margin and an extreme of mainstream culture.
a “sense of community”, for elaborating political and social identities, for negotiating new syntheses In this perspective, it represents one of the places in which normative discourses and power dynamics
between bios and zoé (Esposito 2004; see also Parikka 2010; Väliaho 2010), for taking part in are at their most visible and effective; on the other hand, however, pornography can sometimes be seen
a bioderegulated society (Hennessy 2007, Crary 2013), and so on. as the space of production of counter-discourses that might disrupt dominant perceptions and beliefs
Questioning the concept of dispositif (see Albera, Tortajada 2015) and the application of the notion about gender, sexuality and the body.
XXV International Film Studies Conference
Exposing the Moving Image: e Cinematic Medium across World Fairs, Art Museums and Cultural Exhibitions
With this in mind, we aim to analyse the repressed or subordinated textual and social meanings that
characterize (or, conversely, that are produced by) pornography in its different historical and
geographical forms, as well as to investigate the micro-politics of power at play in pornographic media
and representations and their possible subversive re-articulations.
We invite proposals that explore, but are not restricted to, the following areas:
- Extreme pornography, extreme bodies, extreme representations
- Body modifications, aesthetic surgery and the re-conceptualization of aesthetic standards
- Marginal groups, identities, subjectivities in pornography
- Lives “at the margins”: performers, directors and producers’ biographies
- Marginal celebrities: the meaning of pornographic stardom in the wider context of celebrity culture
- Niche pornographic genres and consumption practices
- Marginal technologies of pornography: dismissed devices, obsolete media, outdated representations
- Marginal economies of pornography: small and independent studios, local businesses, memories of
pornographic consumption
- At the margins of the city: movie theatres, arcades, sex shops as places of consumption and socialization
- Marginal pornographic industries and non-US productions
- Legal controversies, censorship, regulation
- Political debates on pornography: stigma and social scapegoating or liberation and empowerment
- Media discourses on pornography
- Mainstream representations of pornography (in film, television, press)
Post-Cinema – VR and AR a Postcinematic Modernity II
Virtual Reality (VR) and Augmented Reality (AR), as well as establishing new identities and expanding
the perceptions of existing users and the technologies they use, also represent two cardinal points in
the (re)definition of participative and political practices in current media landscape. In this sense the
Post-Cinema section would like to explore the “community/knowledge/power” relationship and the
“community/history/truth” relationship in the production and diffusion of certain “media products”,
in particular the VR and AR ones. The 2018 Post-Cinema section of the Magis Spring School takes
into considerations proposals in the following fields:
- Literacy and socio-economic accessibility linked to VR and AR in the new media (e.g., the difficult
access to the interfaces of VR gaming or the rapport with the casual gaming);
- The creation of social communities linked to the collective use of products specially created for their
use through VR and AR devices;
- The user’s bodily, spatial and temporal perception during the pragmatic use of VR and AR. For
example, the user’s camouflage with technology and constant development of dedicated peripherals
(war games guns, footrests to allow the use of the feet currently not supported, introduction of wireless
devices for the viewer... ) impact;
- The relationship between truth and post-cinematics products (such as documentaries or interactive
films, video games, and other digital products). In these products whose story is being told? Who is
telling it? For whom? Whose truth? Who circulates in the market of whom?;
- The current use and the future potential of VR and AR as tools for interpreting and re-reading a
social-political setting;
- The use of “politics” in digital video games and interactive products (in the form of satire, parody,
narration: e.g. “Trump Simulator”, “Job Simulator”). The analysis of the VR development policies
adopted by different communities or countries, and the investigation of the system of power that
they configure or contest.Gorizia, Wednesday, February 28th Wednesday, February 28th, Conference Presentation Bringing Home the Paris World Cinema and Moving Images in Courage of Knowledge
9.00 – 13.30 Diego Cavallotti, Simone Exhibitions (1887, 1889, 1900): the 1929 Barcelona Frank Mannion (Birmingham
Sala della Torre, Dotto, Andrea Mariani, Visual Spectacle in Lantern International Exposition City University)
Fondazione Cassa di Leonardo Quaresima Lectures and Early Cinema Albert Elduque (University of
Risparmio di Gorizia, (Università degli Studi di Sarah Dellmann (Universiteit Reading), Manuel Garin Chair: Gabriele Jutz
via Carducci 2 Udine) Utrecht) (Universitat Pompeu Fabra, (Universität für angewandte
Barcelona) Kunst, Wien)
Greetings Break Chair: Linda Bertelli (IMT
School for Advanced Studies Exhibition Cinema: The Case Wednesday, February 28th,
Rodolfo Ziberna Montreal’s Expo 67 within an Lucca) Study of Spanish Cinema 16.15 – 18.15
Sindaco di Gorizia Expanded Cinema History Ivan Pintor, Alan Salvadó Palazzo del Cinema, Piazza
Malte Hagener (Universität (Universitat Pompeu Fabra, Vittoria 41
Gianni Torrenti Marburg) Wednesday, February 28th, Barcelona) Classroom A
Assessore alla cultura, sport e 15.00 – 16.00
solidarietà, Regione Expo 58 Between Greatness and Polo Santa Chiara, via Santa Displaying the Memory of Panel: World Fairs, Living
Friuli Venezia Giulia Miniaturization: The Chiara 1 Disaster in Cinema Through the Science, and Anthropology
Attractions of the American Classroom 3 Museum Device
Roberta Demartin Circarama and the Belgian Ana Aitana Fernandez, Bruno Film and the Display of “Living
Presidente della Fondazione Diorama at the Brussels World’s Notes on the Maschine-Mensch: Hachero (Universitat Pompeu Science” at the Palais de la
Cassa di Risparmio di Gorizia Fair BMW Multimedia Show at Fabra, Barcelona) Découverte at the 1937 Paris
Wanda Strauven (Goethe- 2017 International Automobile International Exhibition
Gianluca Madriz Universität, Exhibition in Frankfurt Chair: Alan Salvadó Charlotte Bigg (CNRS, Centre
Vicepresidente della Camera di Frankfurt-am-Main) Sonia Campanini (Goethe- (Universitat Pompeu Fabra, Alexandre Koyré, Paris)
Commercio Venezia Giulia Universität, Frankfurt-am-Main) Barcelona)
Chair: Andrea Mariani Moving Image – Moving
Emilio Sgarlata (Università degli Studi di Exhibiting Media Archaeological Nation: Exhibiting Italy at the
Presidente del Consorzio per lo Udine) Art. Zoe Beloff ’s Stereoscopic Panel: Screens, Marketing, and International Cinematographic
Sviluppo del Polo Universitario Projections Avant-Garde Contest of Turin 1911 World’s
di Gorizia Break Gabriele Jutz (Universität für Classroom 4 Fair
angewandte Kunst, Wien) Agnese Ghezzi (IMT School
Nicoletta Vasta Panel: “Object Lessons in Le Cinéma dans trois expositions for Advanced Studies Lucca)
Direttore del Centro Modernity” – World Fairs and Chair: Simone Dotto patrimoniales françaises
Polifunzionale di Gorizia, Early Popular Media (Università degli Studi di Udine) François Amy De La Bretèque Marcel Griaule and the Dogon:
Università degli Studi di Udine (Université de Montpellier) Masks and Cinema as Twinned
Performing Innovation: Technologies of Mediation in the
Andrea Zannini Exhibiting Media as Novelty Wednesday, February 28th, Alternative Screens in Western Musée de l’Homme
Direttore del Dipartimento di and Spectacle 16.15 – 18.15 Avant-Garde Cinematic Sophie Hopmeier (University
Studi umanistici e del Frank Kessler, Sabine Lenk Polo Santa Chiara, via Santa Practices – A Media of St. Andrews)
patrimonio culturale, (Universiteit Utrecht) Chiara 1 Archaeological Approach
Università degli Studi di Udine Lei Feng (Universität für Chair: Frank Kessler
The “Creation of the World” – Panel: Exhibiting, Exposing, angewandte Kunst, Wien) (Universiteit Utrecht)
Simone Venturini An Intermedial Topos Shooting: an Archaeology of
Università degli Studi di Udine Kurt Vanhoutte, Nele Wynants Musealisation Cinematographic The Role of New Technology in
(Universiteit Antwerpen) Practices the Marketing and Distribution
Classroom 6 of Independent Films: Film Case
Study – The Virtual Reality
Trailer for Marie Curie: theGorizia, Wednesday, February 28th Wednesday, February 28th, Thursday, March 1st,
Gorizia, ursday, March 1st
Through the Exhibition Space
21.00 9.00 – 13.00 Into the Cinematic Space: Film
Screenings Sala della Torre, as Exhibit
Kinemax Gorizia, Fondazione Cassa di Andrea Haller (Goethe-
Piazza Vittoria 41, Gorizia Risparmio di Gorizia, Universität, Frankfurt-am-Main),
via Carducci 2 Stefanie Plappert (DIF Frankfurt)
Circarama – Italia ’61 (Elio
Piccon, 1961, DCP) Keynote Address Chair: Florian Hoof (Leuphana
Backstage and Home Movies Universität Lüneburg)
(1961, digital copy) From Screens as Prostheses
of our Body to our Body as a
Presented by Sergio Toffetti Quasi-Prosthesis of the Screens? Thursday, March 1st,
(Archivio Nazionale del Mauro Carbone (Université 14.00 – 16.00
Cinema d’Impresa, Ivrea) Jean Moulin Lyon 3) Polo Santa Chiara, via Santa
Chiara 1
Bridges Go Round ½ (Shirley Chair: Malte Hagener Classroom 3
Clarke, 1958, digital copy, (Universität Marburg)
Milestone Films and Video) Panel: Histoire du cinéma et
Brussels Loops (Shirley Clarke, Break théories critiques : film,
1958, digital copy, Milestone fantasmagorie, exposition
Films and Video) Panel: Cinematic Spaces and
Objects Beyond the Art Museum Hic falsum index veri. Le
Presented by Letizia Gatti cinéma, la fantasmagorie,
(Reading Bloom Distribution, Writing Film History with a l’exposition du vrai et du faux
Turin), with live soundtrack by Castle on a Shining Hill: Hearst Éduard Arnoldy (Université de
Maria Teresa Soldani* Castle in San Simeon as a Lille – CEAC)
Configuration of Film
Vinzenz Hediger Impatience (1928) de Charles
*a second screening will be hosted (Goethe-Universität, Dekeukeleire : construction et
by the Cinemazero theatre in Frankfurt-am-Main) circulation d’un mythe
Pordenone (Piazza Maestri del
historique
Lavoro, 3) on March 2nd at 20.45
Beyond the Taxidermic Mathilde Lejeune (Université
Paradigm: From Botanical de Lille – CEAC/Université de
Museums to Cinematic Herbaria Lausanne – CEC)
Teresa Castro (Université
Sorbonne Nouvelle – Paris 3) Histoire exposée, bonheur de
l’humanité. De quelques
“Oh Lord Won’t You Buy Me a fantasmagories photo-
Mercedes-Benz”: Exhibiting, cinématographiques
Accelerating and Selling Matthieu Péchenet (Université
Modernity as Cinematic de Lille – CEAC)
Experience
Florian Hoof (Leuphana
Universität Lüneburg)Friday, March 2nd,
Gorizia, Friday, March 2nd
Établir des continuités critiques Panel: The Use of Film in C’est le bazar ! Une autre Revising the Cinematic
dans l’histoire des médias : Paris Science Museums histoire d’exposition des images 9.00 – 13.30 Projection, Modelling the
1900 et le corps en mouvement Classroom 4 indiennes et anglaises Sala della Torre, Proletarian Method of Production:
Sonny Walbrou (Université de Amandine D’Azevedo Fondazione Cassa di Solomon Nikritin’s “The Museum
Lille – CEAC) Scripting the Postwar Museum (Université Sorbonne Nouvelle Risparmio di Gorizia, of Static Film” (1927)
Tim Boon (Science Museum, – Paris 3/Université Paris 8) via Carducci 2 Ekaterina Tewes (Freie
Chair: Éduard Arnoldy London) Universität Berlin)
(Université de Lille – CEAC) Exposition des non-alignes Keynote Address
Cinema, Science and Education Térésa Faucon (Université László Moholy-Nagy’s Room of
From a National Museum Sorbonne Nouvelle – Paris 3) Picasso-Godard-Collage(s) the Present (1930): Exhibiting
st
Thursday, March 1 , Perspective: The Case of the Dominique Païni the Moving Image Within
16.15 – 18.00 Museo Nazionale della Scienza e Chair: Térésa Faucon Contemporary “Optical Culture”
Polo Santa Chiara, via Santa della Tecnica of Milan (1954- (Université Sorbonne Nouvelle Chair: Vinzenz Hediger Antonio Somaini (Université
Chiara 1 1964) – Paris 3) (Goethe-Universität, Sorbonne Nouvelle – Paris 3)
Elena Canadelli (Università Frankfurt-am-Main)
Panel: The Skin and the degli Studi di Padova – Expanded Architectures and
Exposition of the Moving Image DiSSGeA) Thursday, March 1st, 18.15 Break Abstract Moving Images. The
Classroom 6 Musei Provinciali di Palazzo 1958 World’s Fair in Brussels
Watching Films Scientifically. Attems Petzenstein, Dreyer on Display: Film and the Philips Pavilion
Tattoos and the Image in Motion The Cinema Programs at the Piazza De Amicis 2, Gorizia Director Exhibits and Marie Rebecchi (Università
Barbara Grespi (Università Museo Nazionale della Scienza e Historiographical Theory degli Studi di Udine)
degli Studi di Bergamo) della Tecnica of Milan in the Visit to the exhibition Caspar Tybjerg (Københavns
1950s-60s RUSSIAN REVOLUTION. Universitet) Chair: Antonio Somaini
The Meaning in the Surface: the Simona Casonato (Museo The Arts from Diaghilev to (Université Sorbonne Nouvelle
Image and the Skin of Things Nazionale della Scienza e della Abstractionism (1898 – 1922) Moving the Image, Stripping the – Paris 3)
Luisella Farinotti (IULM, Tecnologia, Milano) Spectacle: From Projection to
Milano) Greetings and welcome Celluloid Installation
Chair: Charlotte Bigg (CNRS, Raffaella Sgubin Garrett Stewart (University of Friday, March 2nd,
External Perception, Internal Centre Alexandre Koyré, Paris) (Sovrintendente ai Musei Iowa) 15.00 – 16.00
Projection. A Skin Eye Shift Provinciali di Gorizia) Polo Santa Chiara, via Santa
Simona Pezzano (IULM, Chair: Diego Cavallotti Chiara 1
Milano) Panel: Glorious and Permanent (Università degli Studi di Classroom 3
st
Bazaar Thursday, March 1 , 21.30, Udine)
Reversible Skins and Internal Classroom 5 Special screening with vinyl Musaeum Kircherianum and
Images: Visibility Issue listening Break Colonial Projections
Sara Damiani (Università degli Le Cinéma, l’architecture et Kinemax Gorizia, Pasi Väliaho (Universitetet i
Studi di Bergamo) l’Amérique : Vachel Lindsay, Piazza Vittoria 41, Gorizia Panel: Polyphormic Projections I Oslo)
D.W. Griffith et L’Exposition – Expanded Architectures, Static
Chair: Mauro Carbone Universelle (1915-2018) Il sogno di mio fratello (Stefano Films, Morphological Projective Monuments: Moving
(Université Jean Moulin Lyon Marion Polirsztok (Université Ricci, 2018, 16mm and vinyl Exhibitions, Rooms of the Images, Architecture and World
3) Sorbonne Nouvelle – Paris record) Present Fairs
3/Université Paris 8) Trond Lundemo (Stockholms
Exposing Movement, universitet)
Constructing Time: Rhythm and
Morphology as Tools of Vision Chair: Simone Venturini
Elena Vogman (Freie (Università degli Studi di
Universität Berlin) Udine)Friday, March 2nd, The City as Exhibition Space: Modalités d’exposition du Fragments from Anatolio Film
16.15 – 18.30 Notes on Moving Images and cinéma d’animation pour une Project (Nato Frascà, 1969,
Polo Santa Chiara, Architecture Encyclopédie technique du HD (8mm))
via Santa Chiara 1 Francesco Federici (Università cinéma en ligne : un défi à la
Iuav di Venezia) définition historique de Presented by Ugo Locatelli,
Panel: Polyphormic Projections l’animation Jennifer Malvezzi (Università
II – Unsettling Spaces Between Maison de Verre / Maison de Jean-Baptiste Massuet degli Studi di Parma), Mirco
Film and Architecture Rêve: Aquariums, World Fairs (Université Rennes 2) Santi, Paolo Simoni (Home
Classroom 6 and the Origin of Cinema Movies – Archivio Nazionale
Massimiliano Gaudiosi Chair: André Gaudreault del Film di Famiglia)
The Electricity Fairy, Loïe (Università Suor Orsola (Université de Montréal)
Fuller’s Serpentine Dance and Benincasa, Napoli)
Cinematic Display from Paris
1900 to Contemporary Art Chair: Paolo Villa (Università Friday, March 2nd, 21.00
Éline Grignard (Université degli Studi di Udine) Screenings
Paris Nanterre – HAR) Kinemax Gorizia,
Piazza Vittoria 41, Gorizia
The Space Frame and the Panel: TECHNÈS
Architectural Screens in Classroom 5 The Building and Operation
Displacement: Inside Montreal’s of Industria Museum
Expo 67 from the Past Until Introduction (1928, DCP)
Today André Gaudreault (Université
Benjamin Léon (Université de de Montréal) Presented by Tim Boon
Lille/Université Libre de Bruxelles) (Science Museum Group,
Visualizing a Database Through University of Leeds)
Entering the Cloud Screen. On Maps? Theoretical and
Joan Brigham’s and Stan Methodological Challenges Coming up
VanDerBeek’s Steam Screens Marta Boni (Université de
(1979) Montréal) Eyewitnesses: 8mm Fragments
Riccardo Venturi (Independent from the Second World War
Researcher) Comment le format (1944, HD (8mm))
“webdocumentaire” permet-il de
Chair: Marie Rebecchi penser la visualisation d’une base Immagini Lunghe: Noi
(Università degli Studi di Udine) de données documentaire ? Sappiamo, Tempo di lettura,
Rémy Besson (Université de Meta (Ugo Locatelli, 1972,
Montréal) 16mm (8mm; Super8))
Panel: Exhibiting Moving
Images in Museums and Beyond: Qu’est-ce qu’une exposition Valentino Moon (Gianni
Exhibition Design, Archive, numérique ? Les dispositifs Castagnoli, 1974, 16mm
Architecture expositionnels en ligne dans le (Super8))
Classroom 4 champ patrimonial et muséal
Emmanuel Chateâu-Dutier Ezra Pound in Venice (Massimo
The Built Environment: The (Université de Montréal) Bacigalupo, 1967-2014, HD
Parliament (2013) (8mm))
Vincenzo Estremo (Nuova
Accademia Belle Arti, Milano)Gorizia, Saturday, March 3rd Saturday, March 3rd,
XVI MAGIS – International Film Studies Spring School
At the Edge of Nobody’s Empire: Media, Politics, and Representations
Artistic Moving Images across
9.00 – 12.30 Filmmaking, Circulating and
Sala della Torre, Curatorial Practices/2
Fondazione Cassa di Mercedes Vicente
Risparmio di Gorizia, (Independent Researcher)
via Carducci 2
Artistic Moving Images across
Panel: Diorama, Filmmaking, Circulating and
Aquarium et cinéma Curatorial Practices/3
Valeria Guazzelli (Independent
Diorama et cinéma : une Researcher)
question de transparence
Philippe Dubois (Université Chair: Miriam De Rosa
Sorbonne Nouvelle – Paris 3 – (Coventry University)
LIRA)
Coming up
Fictions de dispositifs – Notre
ethnographie : La Jetée (Chris Limina Award
Marker, 1962) et le diorama for Italian and International
Barbara Le Maître (Université film studies books
Paris Nanterre – HAR) with the support of Azienda
Vinicola Livio Felluga
Les Dioramas aquatiques des
Expositions universelles :
archéologie d’un mouvement pré-
cinématographique à l’aquarium
Guillaume Le Gall (Université
Paris-Sorbonne – UMR
Centre André Chastel)
Chair: Leonardo Quaresima
(Università degli Studi di
Udine)
Break
Panel: Artistic Moving Images
across Filmmaking, Circulating
and Curatorial Practices
Artistic Moving Images across
Filmmaking, Circulating and
Curatorial Practices/1
Miriam De Rosa (Coventry
University), Catherine Fowler
(University of Otago)Gorizia, Saturday, March 3rd Saturday, March 3rd, Saturday, March 3rd, Porn Studies – Regulating the The Weakest Link: 13 Tzameti
12.45 – 13.30 15.00 – 18.00 Extreme: Media, Society and as the Gamification of Reality
Sala della Torre, Workshops the Law Hanin Hannouch (Staatliche
Fondazione Cassa di Polo Santa Chiara, via Santa Classroom 5 Museen zu Berlin), John Reilly
Risparmio Gorizia, Chiara 1 (Woosong University, Daejeon)
via Carducci 2 Mainstream and Marginal: Porn
Media Archaeology – in Discourse and Representation Zooming Out on Human
Presentation of the Spring School Tracking the Self and the Feona Attwood (Middlesex Conflict: The Search for Ecstatic
Sections Everyday Life University) Truth in Documentary
Classroom 4 Paola Prestes Penny
Cinema and Contemporary Arts: Extreme Pornography: Extreme (Universidade de São Paulo)
The Arts of Documentary Eyewitnesses. 8mm Fragments Culture? Can the Feminist
Simone Dotto, Lisa Parolo from WW2 (Italy, 1944) Argument from “Cultural «I hope no shit is about to start»,
(Università degli Studi di Paolo Simoni (Università degli Harm” Justify Criminalising the from Marilyn Monroe to Mark
Udine), Vincenzo Estremo Studi di Padova/Home Possession of Extreme Bradford: Niagara as a
(Nuova Accademia Belle Arti, Movies – Archivio Nazionale Pornography? Socio-Political Critique
Milano), Francesco Federici del Film di Famiglia), Mirco Tara Beattie (Durham Law Andelko Mihanović (IMT
(Università Iuav di Venezia) Santi (Home Movies – School) School for Advanced Studies
Archivio Nazionale del Film Lucca)
Media Archaeology: Technologies di Famiglia) «I must warn you if you sign the
of Power/Power of Technology contract there will be no way Chair: Francesco Federici
Diego Cavallotti, Andrea The Power of the “Stack”: back»: Exploring Extremity in (Università Iuav di Venezia)
Mariani, Simone Venturini Self-Tracking as BioPolitical the Pornographic Productions of
(Università degli Studi di Udine) Feedback Loop Maximillian Lomp
Sebastian Scholz (Vrije Clarissa Smith (University of Saturday, March 3rd, 21.00
Porn Studies: Pornography. Universiteit, Amsterdam) Sunderland) Screenings
Margins and Extremes Kinemax Gorizia,
Enrico Biasin (University of Staging Private Life or Letting It More Dangerous Desires Piazza Vittoria 41, Gorizia
Bristol), Giovanna Maina Surface – Analysis of the Video Alessandra Mondin (University
(Università degli Studi di Works of Laurie Anderson and of Sunderland) Cinema Grattacielo (Marco
Sassari), Federico Zecca Penny Lane Bertozzi, 2017, DCP)
(Università degli Studi di Bari Ana Azevedo (FHCS – Chair: Susanna Paasonen
“Aldo Moro”) Universidade Nova de Lisboa) (University of Turku) Presented by Marco Bertozzi
(Università Iuav di Venezia)
Chair: Diego Cavallotti
(Università degli Studi di Cinema and Contemporary
Udine) Arts – The Art and Politics of
Documentary
Classroom 6
Defamiliarizing the Familiar.
On Works by Yael Bartana and
Nira Pereg
Pia Goebel (Ruhr-Universität
Bochum)Gorizia, Sunday, March 4th Sunday, March 4th, Panel: Des documents, à Sunday, March 4th, On the Edge: Bating Culture Database Documentaries: New
9.00 – 13.30 documenter, au documentaire 15.00 – 18.00 and Popper Training Videos Technologies, New Possibilities
Sala della Torre, Workshops John Mercer (Birmingham the Case of iMedia Cities
Fondazione Cassa di Réflexions préliminaires sur Polo Santa Chiara, via Santa Centre for Media and Cultural Nickos Myrtou (Ethnikon kai
Risparmio Gorizia, quelques jonctions entre Chiara 1 Research/Birmingham City Kapodistriakon Panepistimion
via Carducci 2 taxidermie et cinéma University) Athinon)
Viva Paci (labdoc/GRAFICS – Media Archaeology – New
Construire le voyage. Dioramas, Université du Québec à Images of the Empire The Neighborhood Cums: Chair: Vincenzo Estremo
dessins et autres illustrations Montréal) Classroom 4 Ding-Dong! Dick’s Here! (Nuova Accademia Belle Arti,
documentaires Charlie Sarson (Birmingham Milano)
Philippe Marion (Université Entre spectaculaire et utilitaire. Colonialism, Propaganda and Centre for Media and Cultural
catholique de Louvain/labdoc – Les cinémas de l’Expo 67 Identity. Travelogues at the Research/Birmingham City
Université du Québec à Caroline Martel (Concordia Intersection Between the University) Sunday, March 4th, 21.00
Montréal), University, Montréal) “Colonized Other” and “Us” Screenings
Viva Paci (labdoc/GRAFICS – Noemi Daugaard (Universität Chair: John Mercer Kinemax Gorizia,
Université du Québec à Traces documentaires et vidéo Zürich) (Birmingham Centre for Piazza Vittoria 41, Gorizia
Montréal) par abonnement : circulation, Media and Cultural
fragmentation, assemblage The New Life of Images: the Research/Birmingham City The Mike Freeman Story
Chair: Martin Bonnard Martin Bonnard (Université du Case of Postmodern Cinema University) (Simon Fletcher, 2018, digital
(Université du Québec à Québec à Montréal/Université Luca Malavasi (Università degli copy)
Montréal/Université de de Montréal/Concordia Studi di Genova)
Montréal/Concordia University) Cinema and Contemporary Presented by Oliver Carter
University) Transmediation and Migration Arts – Spaces, Memories, (Birmingham Centre for
(Re)monter la parole des acteurs in Dialogue: Displacement, Communities Media and Cultural
Break de l’histoire : le cas Quatre Hybridity and the Question of Classroom 6 Research/Birmingham City
sœurs (Lanzmann, 2017) Media in Migration Cinema University)
Panel: Documenting the Self Remy Besson (Université de Nafiseh Mousavi (Stockholms The Postwar Avant-Garde
Montréal) universitet) Documentary in Japanese Coming up
Counter-Portraiture: Collective Films: Tokyo 1958
Investigating the Notion of Chair: Viva Paci Chair: Lisa Cartwright (Susumu Hani, Hiroshi Sexposed (Simon Fletcher,
“Belonging” Through (labdoc/GRAFICS – Université (University of California, San Teshigahara, et al., 1958) 2018, digital copy)
Experiments with the du Québec à Montréal) Diego) Marcos Centeno (School of
Documentary Portrait Oriental and African Studies –
Elisabeth Brun (Universitetet i University of London)
Oslo) Porn Studies – Gay Men,
Gay Porn and “Marginal” Deconstruct the Documentary
Rethinking Story Space: the Masculinities Artistic Practice in
Aesthetics and Politics of Classroom 5 Contemporary Lebanon
Embodied New Media Valeria Mancinelli (Università
Myriam Rafla (Concordia Take It Like a Man, Pig: Gay degli Studi Roma Tre)
University, Montréal) Porn, Masculinity, and Bodily
Defilement Through Time by Space: Space,
Chair: Simone Dotto João Florêncio (University of Memory and Pattern in the
(Università degli Studi di Exeter) Audiovisual Today
Udine) Fabio Cassano (Università degli
Studi di Bari “Aldo Moro”)
BreakGorizia, Monday, March 5th Monday, March 5th, Accident Threat: Arranging the Monday, March 5th, Mediateca “Ugo Casiraghi”, Milo Adami (ISIA, Urbino /
9.00 – 13.30 Workplace by Making Risk 15.00 – 17.15 Piazza Vittoria 41, Gorizia labdoc, Université du Québec à
Sala della Torre, Fondazione Endlessly Explicit Workshops Montréal)
Cassa di Risparmio Gorizia, Guilherme da Silva Machado Polo Santa Chiara, Hands, Nothing but Hands
via Carducci 2 (Université Sorbonne Nouvelle via Santa Chiara 1 A presentation by Christina Reality Rehearsed: the Re-
– Paris 3/Goethe-Universität, Lammer (Academy of Fine enactment and the Interview
Keynote Address Frankfurt-am-Main) Media Archaeology – Material Arts, Wien) Sara Magno (UCP – Lisbon
Ideologies/The Medical Gaze Consortium/Københavns
A Media Archaeology of Structure of Feeling, Feeling of Classroom 4 Universitet)
the Clinical Camera-Body Structure Porn Studies – Dirty Work?
Lisa Cartwright (University of Philipp Röding (Goethe- Panel: Material Ideologies The Politics of Labour in the Gaps, Leaps and Hallucinations.
California, San Diego) Universität, Frankfurt-am-Main) British Adult Entertainment Remebering War in Auf
Color, Desire and the Material Business Wiedersehen Finnland (2010)
Chair: Wanda Strauven Chair: Andrea Mariani (-ity) of Female Identity: The Classroom 5 Niina Oisalo (Turun Yliopisto
(Goethe-Universität, (Università degli Studi di Udine) Technology and Aesthetics of – University of Turku)
Frankfurt-am-Main) Early Color Film Processes in “Pure Cheek”: Making Ben Dover
Presentation of the Spring School Relation to the White Power of Oliver Carter (Birmingham «...You contaminate your
Break Sections the Apparatus in Fashion Centre for Media and Cultural experiment»: Documentary
Newsreels of the 1920s
Research/Birmingham City Abstraction in Psychic Driving
Panel: Biopolitical Devices, Film and Media Heritage: Olivia Kristina Stutz
University) Tommaso Isabella (Università
Biopolitical Cinematics Revolutions. Politics and Media (Universität Zürich)
degli Studi di Bergamo)
Hans-Michael Bock Kinktrepreneurship and British
Games of Empire: Excavating (CineGraph, Hamburg), Jan Handmade Films:
The Artist-Run Film Labs Adult Entertainment Chair: Francesco Federici
the Cinematic Shooting Gallery Distelmeyer (Fachhochschule Gemma Commane (Birmingham (Università Iuav di Venezia)
Michael Cowan (University of Potsdam/Universität Potsdam), Rossella Catanese (Sapienza,
Università di Roma) Centre for Media and Cultural
St. Andrews) Giovanni Grasso, Simone Research/Birmingham City
Venturini (Università degli University) Monday, March 5th, 17.00
Creative Control / Creative Studi di Udine) Chair: Hans-Michael Bock
(CineGraph, Hamburg) Mediateca “Ugo Casiraghi”,
Destruction The UK Adult Film Performer Piazza Vittoria 41, Gorizia
Pepita Hesselberth (Universiteit Post-Cinema: VR and AR a Project: A Case for Being Pro-
Leiden/Københavns Postcinematic Modernity II Panel: The Medical Gaze
Performer Voice VR VideoGame Booth
Universitet) Alberto Brodesco (Università Joanne Bowring (Liverpool Progetto Ustica
degli Studi di Trento), Federico A Biopolitical Tool: Doctor
Ignasi Barraquer’s John Mores University) Produced and Developed by
Chair: Jan Distelmeyer Giordano (Università Telematica IV Production in collaboration
(Fachhochschule Ophthalmological Films
San Raffaele – Roma), Ludovica Chair: Oliver Carter with Mauro Salvador.
Paula Arantzazu Ruiz
Potsdam/Universität Potsdam) Fales (University of West (Birmingham Centre for Media Beta Version, 2018
(Independent Researcher)
London), Michael Castronuovo, and Cultural Research/
Break Mattia Filigoi, Matteo Genovesi
Autopticon: An Archaeology of Birmingham City University) Monday, March 5th, 21.00
(Università degli Studi di Udine)
Video as Psychiatric Apparatus Screenings
Panel: Better Safe than Sorry.
1953-1970 Cinema and Contemporary Kinemax Gorizia,
Control, Performance, Failure
Jonathan Rozenkrantz Arts – History and Archive Piazza Vittoria 41, Gorizia
(Stockholms universitet) Classroom 6
Turning the Body Power into
Nathan der Weise (Manfred
Data: Technological Control of Chair: Simone Venturini Diaporama: Political Uses of Noa, 1922, DCP)
Performativity (Università degli Studi di Udine) Slideshow Photography in the
Antoine Prévost-Balga
(Goethe-Universität, Italian Counterculture Presented by Heike Klapdor
Coming up Documentary Practices 1952 - 1975 (Berlin) and Hans-Michael
Frankfurt-am-Main)
Bock (CineGraph, Hamburg)Puoi anche leggere
