28th Edition FilmForum 2021 XIX MAGIS International Film and Media Studies Spring School XXVIII International Film and Media Studies Conference
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FilmForum 2021 March 18th – 31st – November 1st – 5th
FilmForum 2021
XIX MAGIS International Film
and Media Studies Spring School
XXVIII International Film
and Media Studies Conference
28th Edition
filmforum/2021 Gorizia/Udine, March 18th – 31st – November 1st – 5th XIX MAGIS International Film and Media Studies Spring School Living in the Material World: Transdisciplinary Approaches to Past and Present Media Ecologies March 18th – 31st XXVIII International Film and Media Studies Conference November 1st – 5th
Colophon/Contents
Coordinator: Cinema and Contemporary Torino), Federico Zecca Pisani, Stefania Capellupo,
Simone Venturini (Università Arts - On the Edge of a (Università degli studi di Bari Nicola Narduzzi, Loris Nardin,
degli studi di Udine) New Dark Age-Media Ecology “Aldo Moro”). Arnaldo Spessotto, Daniela
and Art Strategies: Fabrici (DIUM –
XIX MAGIS International Mary Comin, Lorenzo Lazzari, The Film and Media Heritage – Dipartimento di studi
Film and Media Studies Spring Greta Plaitano, Paolo Villa Historicizing Platforms: Sources umanistici e del patrimonio
School – Living in the Material (Università degli studi di and Streams: culturale),
World: Transdisciplinary Udine), Vincenzo Estremo Hans-Michael Bock (CineGraph, Carlo Carratù (CEGO –
Approaches to Past (Nuova Accademia Belle Arti, Hamburg), Jan Distelmeyer Università degli studi di Udine)
and Present Media Ecologies Milano) Francesco Federici (Fachhochschule
(Università del Molise), Potsdam/Universität Potsdam), Screenings Coordinators:
Scientific Coordinators: Annalisa Pellino (Libera Serena Bellotti, Petra Marlazzi, Andrea Mariani, Simona
Diego Cavallotti (Università Università di Lingue e Simone Venturini (Università Schneider (Università degli
degli studi di Cagliari), Simone Comunicazione IULM, Milano). degli studi di Udine) studi di Udine)
Venturini (Università degli
studi di Udine) Media Archaeology – Ecologies Modi, memorie, culture della Screenings and Special Events:
of Perception: produzione cinematografica Yto Barrada (Cinémathèque de
Scientific Committee: Simone Dotto, Andrea Mariani, italiana (1949-1976): Tanger, Tangier); Léa Morin
Mariapia Comand, Simone Venturini (Università Mariapia Comand, Barbara Corsi, (L’Atelier de l’Observatoire,
Francesco Pitassio, Leonardo degli studi di Udine), Diego Simone Dotto, Andrea Mariani, Casablanca); Brett Kashmere
Quaresima, Cosetta Saba, Cavallotti (Università degli Marco Rossitti, Cosetta Saba, and Seth Mitter (Canyon
Simone Venturini (Universita studi di Cagliari), Pepita Simone Venturini (Università Cinema, San Francisco)
degli studi di Udine), Sara Hesselberth (Leiden University degli studi di Udine), Georgia Gray (MUBI)
Martin (Universita di Parma), Centre for the Arts in Society), Francesco di Chiara (Università
Federico Zecca (Universita Sebastian Scholz (Vrije degli studi eCampus, Websites:
degli studi di Bari “Aldo Moro”) Universiteit Amsterdam) Novedrate), Luisella Farinotti, Giovanni Buffa, Stefano
Luca Barbarito, Elena Gipponi, Marotta, Irene Fanizza,
Steering Committee: Post-Cinema – Vulnerable Media: Mariachiara Grizzaffi (Libera (PostPast), Nello Polesello
Simone Dotto (Università Nicole Braida (Johannes università di lingue e (InfoFactory)
degli studi di Udine), Gutenberg-Universität Mainz), comunicazione IULM,
Federico Giordano (Università Alberto Brodesco (Università Milano), Vito Zagarrio, Technical direction:
per Stranieri di Perugia – degli studi di Trento), Ludovica Leonardo De Franceschi, Gianandrea Sasso, Giacomo
Università Telematica San Fales (University College, Malvina Giordana, Elio Ugenti, Vidoni (La Camera Ottica,
Raffaele, Roma), Giovanna London), Federico Giordano Christian Uva (Università degli Digital Storytelling Lab –
Maina (Università degli studi (Università per Stranieri di studi RomaTre), Sara Martin, Università degli studi di Udine)
di Torino), Andrea Mariani Perugia – Università Telematica Jennifer Malvezzi (Università
(Università degli studi di San Raffaele, Roma), Ivan degli studi di Parma), Layout:
Udine), Federico Zecca Girina (Brunel University, Antioco Floris, Diego Cavallotti Marco De Anna
(Università degli studi di Bari London), Berenike Jung (Università degli studi di Cagliari). (Comunicazione – Università
“Aldo Moro”). (King’s College, London). degli studi di Udine)
Organisation:
Organisational Board: Porn Studies – Pornographic Associazione Palazzo del Graphics:
Serena Bellotti, Maria Ida subjectivities: Sexuality, Race, Cinema – Hiša Filma (Chiara Stefano Ricci
Bernabei, Laura Cesaro, Class, Age, Dis/Ability: Canesin, Giuseppe Longo,
Silvia Mascia, Giacomo Vidoni, Enrico Biasin (Indipendent Martina Pizzamiglio), SCOM
Paolo Villa, Gianandrea Sasso scholar), Giovanna Maina – Università degli studi di Udine,
(Università degli studi di Udine). (Università degli studi di Martina Scrignaro, Maurizio
Contents Call for Papers XIX MAGIS International Film and Media Studies Spring School March 18th – 31st XXVIII International Film and Media Studies Conference November 1st - 5th Screenings March 26th – March 31st
XXVIII International Film and Media Studies Conference Gorizia, November 1st - 5th Call for papers coming soon on ff2021.filmforumfestival.it
XIX MAGIS International Film and Media Studies Spring School Cinema and Contemporary Arts – On the Edge of a New Dark Age-Media
Ecology and Art Strategies
Living in the Material World: Transdisciplinary Approaches
to Past and Present Media Ecologies In the modernist framework of technological enthusiasm and faith in progress,
Gorizia, March 18th – 31st technology had been seen as one of the crucial forces for society to evolve as it
never had before. More recently, this utopian view has been flipped in its
Since the late 1960s, the notion of “media ecology” has become a crucial part of dystopian twin: since the 1990s, technological determinism has been the flipside
the academic debate. Fostered by Neil Postman’s theories, media ecology has of the coin of several conceptions of media ecologies and environments (partic-
configured itself as a meta-theoretical ground on which the media are considered ularly in reference to Marshall McLuhan’s and Neil Postman’s understanding of
as technological environments, capable of shaping our senses and perception. the term), moving the attention from the advantages to the consequences of
Throughout the years, several insights on such topic have been developed, in- technological progress in modernized societies. In this view, the socalled Age of
volving the interrelationships between technological networks, information, and Information could be seen as a paradoxical counterpart of the Age of Enlight-
communication (Altheide 1995; Nardi & O’Day 1999; Tacchi, Slater & Earn, enment as made visible by the Internet.
2003; Hearn & Foth, 2007); the notion of “media practice” within these net- Whereas, for a long time, it has been argued that putting more information in
works (Mattoni 2017); the role of culture in their evolution (Gencarelli 2006; people’s hands would have inherently fostered their understanding of public is-
Strate 2008; Polski 2013); etc. We could say that new branches stemmed out sues and increased their participation in social life, the current technologically
from the methodological framework proposed by Postman, in which McLuhan’s advanced societies have largely proved their incapability to provide a large and
legacy appears to be fundamental. spread condition of equality, social justice and common good (Marx & Smith
Some of them stress the role of materiality in the construction of Medienverbund 1994).
(Kittler, 1986), media environments and media cultures, others focus on the In this view, the state of confusion which we live in, the increasing lack of po-
creation of power/knowledge networks (Parikka 2007; 2010; 2011; 2014): in litical awareness, the concerns for the climate crisis, and the commercial ex-
all of them, every medium is considered as a complex system among other com- ploitation of public spaces via the use of digital media, can be seen as some of
plex systems, with which it develops cultural and practical grids. the constitutive aspects underlying the current “technologically driven authori-
The entanglement between the concept of media ecology and the notion of net- tarianism.” As recently suggested by James Bridle’s New Dark Age, acknowledging
work has become massively relevant for the European debate ever since Félix that the more we rely on the media-networked environment, the less we know
Guattari’s published his Les Trois Écologies (1989), “Postmodern Deadlock and its deep social and political implications calls for a critically aware response: de-
Post-Media Transition” (1986), and “Entering the Post-Media Era” (2009): here, veloping a “systemic literacy” is the first step to go beyond the purely functional
the media “ecologies” (plural!) are the material contexts in which the processes understanding of technology and “to understand the many ways in which tech-
of subjectivity construction take place. This notion has been further elaborated nology itself hides its own agency – through opaque machines and inscrutable
by media theorists such as Matthew Fuller (2005) and Michael Goddard (2018), codes as well as physical distance and legal constructs” (Bridle 2018: 8). From a
who stress the role of media assemblages, dispositives, and networks concerning different standpoint, many theoretical orientations in humanities, visual culture
the dynamics of subjectivity construction. studies and social sciences have investigated affectivity, focusing on the body
In our CFP we aim to explore the multi-faceted realm of past and present media and collective experience as oppositional tools to the technology-driven neolib-
ecologies in order to develop a transdisciplinary approach to their epistemolog- eral modes of performativity. In the wake of the interest of feminist and queer
ical ground, which will be fostered by the five sections of our school (Cinema theories for body and emotions, they focused on the “formative power” of affect
and Contemporary Arts, The Film and Media Heritage, Media Archaeology, “cast forward by its open-ended in-between-ness [...] integral to a body’s per-
Porn Studies, and Post-Cinema). petual becoming” (Gregg & Seigworth, 2010).
All of these considerations lead us to put into question how, in the current In-
formation Society, knowledge flow through media and bodies and beyond rep-
resentation. Instead of being taken for granted, while thinking at automated
information as more reliable than our own experience (“automation bias”) and
progressively losing our ability to imagine a future, digital networks and plat-forms must be re-assessed and re-appropriated as tools to “rethink the world.” artefacts of home cinema to – again – moving images (and sounds), which as
In this vein, the Cinema and Contemporary Arts section’s call for papers aims computer-based streams are no longer bound to fixed screening locations.
at fostering the debate by gathering theoretical and practice-based reflections on Hence, the changing mode of «film viewing outside of theatrical precincts» (Bar-
how and by which “yardsticks” can we pinpoint new artistic strategies and tactics bara Klinger, 2006) changes both: the mode of film experience and the source
to reshape our approach to technology and actively redefine our position in the that makes this experience possible.
current media environment. The Film and Media Heritage section welcomes proposals relating to the fol-
The Cinema and Contemporary Arts section will thus welcome proposals related lowing sub-topics:
(but not limited to) the following sub-topics:
– Changing media environments (from public to private spaces and to global
– Artists, artworks and art movements concerned with the concept of media- platforms);
ecology; – Conditions of research (role of the archives and media industries);
– The “new materialist energies” at work within contemporary arts (t.i. how art – Conditions of availability and archiving (from renting/selling copies to plat-
has critically addressed digital materialism); form economy);
– The political ecology of knowledge practices based on body and affectivity – Aesthetics and epistemology of experience (devices, displays and disciplinary
(Massoumi 2002: 255); technologies of attraction/distraction);
– Feminist and queer strategies at work against the technologies of governmen- – Aesthetics and availability (modes of presenting film, history, canons and
tality; the queer utopian impulse (Muñoz 2009); cinephilia).
– The strategic and tactical potential of art in de-commodifying time and the
moving image; Media Archaeology – Ecologies of Perception
– The production of urban and domestic space by digital media and how it af-
fects the public sphere; Drawing on a media-ecological perspective, the focus of the 2020 edition of the
– Digital colonialism and post-colonialism. Media Archaeology section will be on “ecologies of perception.” What Luciana
Parisi ten years ago described as “technoecologies of sensation” (2009), today
The Film and Media Heritage – Historicizing Platforms: has developed into a new form of rationality, one which is not only concerned
Sources and Streams with current environmentalist challenges, but that also opens up possibilities for
reconsidering processes of “technocapitalist naturalization” (Massumi 2017).
Against the background of the increasing success of streaming as an everyday Ecology, from this point of view, signifies the need to rethink “the capacities of
mode of film experience and the new platform economy (Dal Yong Jin, 2015; an environment, defined in terms of a multiplicity of interlayered milieus and
Marc Steinberg, 2019), the workshop discusses the history of dealing with film localities, to become generative of emergent forms and patterns” (Parisi 2017:
sources and materials in the last decades. It combines discussion and presenta- 85). Today’s “general ecology,” Erich Hörl writes, “characterises being and
tions of various dispositifs and materialities – from 9.5, 16, and 35 mm copies thought under the technological condition of a cybernetic state of nature”
to VHS, laser disc and DVD/Blu-ray to streaming platforms. The focus is on (2017).
changes of the supposedly stable entity of «the film» under the influence of shift- Our section picks up on the suggestion that this expanding paradigm calls for
ing technologies and practices. This includes the materiality and appropriation new descriptions, including a rigorous historization of sense-perception and sen-
of cinematic sources as well as their revision and making available. sation, as well as a reflection on their ethical and aesthetical implications. In a
These changes are not only worth considering with regard to coming into contact time when media increasingly operate at a micro-temporal scale “without any
with films (going to the cinema and travelling to retrospectives compared to in- necessary – let alone any direct – connection to human sense perception and
serting a disc and going/staying online) and to concepts of film and video as conscious awareness” (Hansen 2015: 35), it opens up a horizon for asking “how
media, but also to writing about/during films (vague memories from notes writ- to re-think or even reinvent media as a form of earth re-writing” (Starosielski &
ten in the dark compared to an analysis frame by frame) and for a resulting Walker 2016).
canon formation. The development from film copies to streaming platforms Our aim is to bring together papers on the following three, interrelated, topics:
leads from the establishment of film as a moving image in public spaces and the – First, the relation between media and communication technologies and socialmovements. “The media ecological framework is particularly suited for the study – The role of dynamic instrumentalisation of nature in biotechnology, nanotech-
of the social movements/media nexus,” Treré-Mattoni has observed, “because of nology, information technology etc.;
its ability to provide finetuned explorations of the multiplicity, the interconnec- – The nexus between media ecologies and social movements: interactions in a
tions, the dynamic evolution of old and new media forms for social change” liquid production and fruition context;
(2015: 292). From within this framework, we are keen to hear on investigations – Tele-technologies for contemporary social movements (e.g. memes, meme-
of various forms, or dispositifs, of subjectivation in the face of newly emerging platforms, meme-generator, flashmobs, Anonymous operations etc.);
social forces or social resistance. – Dispositifs of subjectivation;
– Second, the role of media infrastructures in shaping our ways of perceiving – Speculative ethics, and matters of care;
the world. Today, we are increasingly thinking and living under conditions of – The “minimal ethics” for “more-than-human worlds”;
an effective “programmability of planet earth” (Gabrys 2016: 4). We thus need – The notion of “slow media violence” and “matters of care”;
to pay attention to the complex consequences of media becoming environmental – Geologic matter and bio-matter, deep times and deep places of media in mines
and environments becoming mediated. From this point of view, action and re- and rare earth minerals.
sistance, as well as dynamic relations between human and non-human entities,
need to be framed and shaped on a wider range of scale. Joanna Zylinska, in Post-Cinema – Vulnerable Media
this context, for example, reclaims a “minimal ethics” for the Anthropocene:
“swap the telescope for the microscope,” she writes. “It is a practical and con- The Post-Cinema section invites contributions on the topic of Vulnerable Media.
ceptual device that allows us to climb up and down various spatiotemporal di- This conceptual framework wants to explore how current and emergent media
mensions” (2014: 28). We ask: what would a minimal ethics for an ecology of technologies, distribution platforms, formats or artefacts negotiate affects be-
perception entail? tween users and digital interactive interfaces, in particular, how such media hide
– Third, the complex linkages between media as technology and environmental or show, contain or generate forms of vulnerability.
issues in more-than-human worlds, including “the concrete connections that An expanding infrastructure serves to manage our emotional experience by track-
media as technology has to resources […] and nature” (Parikka 2013: 204; ing, quantifying and supervising, or by shaping that experience through its in-
2016). Special focus will be dedicated to the capitalist “production of the obso- terfaces, as we connect and share in affective spaces of social media. These media
lete” (Jucan 2016: xvii); “finite media” (Cubitt 2017); the effects or remains of which maintain and nurture our “mediated intimacies” (Attwood, Hakim,
what Parikka called the “anthrobscene”; and the question what a speculative Winch 2017) are at the same time vulnerable to engendering processes of phys-
ethics of “slow (media) violence” (Parikka 2016) and “matters of care” (Puig de ical and emotional disconnect. Arguably, these media formats and objects shape
la Bellacasa 2017) might entail. contemporary “structures of feeling” (Williams 1961: 64-66) and relational emo-
tions (Ahmed 2004) and help regulate affect in capitalist societies (Illouz 2007).
The Media Archaeology section welcomes proposals relating (but not limited) Such affective technologies extend beyond individual self-improvement, leading
to the following sub-topics: to intimacy as a governing concept in the relation between state and citizens.
Vulnerable media here point to security gaps, hacks, and technologies that enable
– Ecologies of perception; surveillance and manipulation through governments and companies such as
– Media archaeological approaches to the concept of media ecology, its materi- Cambridge Analytica on a global scale, as well as socio-cultural issues, such as
ality and infrastructures; exploitation in e-sports or gamergate, comicgate etc.
– The role of media affordances in building a media ecology; From global tracking and surveillance, data collection scandals to powerful and
– The role of computational design; proprietary algorithms, quasi-monopolist blackboxed platforms, progress on AI
– Critical considerations of (un)sustainable media; and machine learning systems, as well as data collection lead to subjective feelings
– Obsolescence, and/or the reconstruction of the materiality of past media ecolo- of vulnerability. These developments have also renewed discourses on what it
gies; means to be human: where does the “meatsuit” end can consciousness be pro-
– The complex relations between media technologies, natural environments, and grammed?
the multifaceted temporalities they entail; In the realm of emergent media the future is tied to issues of instability, changeand obsolescence. The race for novelty and technological innovation always en- understand what kind of subjects are produced by pornography and how they
tails an unending trajectory towards obsolescence. The speed of change in these are constructed, with particular attention to the intersections between sexuality
practices reflects their inner fear of being “left behind,” paradoxically condemn- and race, class, age, dis/ability.
ing emerging technologies to a permanent state of ephemerality. Such vulnera- Drawing loosely on Jacques Derrida’s philosophical reflections, we could say that
bility is embodied, for example, by the so-called “impossible archives” (Fanfic pornography-as-dispositive is informed by a carnophallogocentric logic, that is
archives & the Wayback Machine) which challenge normative understandings by “the scheme that governs the production of the subject in Western culture”
of memory and historicity, presenting us with issues of unstable preservation in (1992). According to Derrida, this subject is produced by means of a process of
light of “update or die” logic, “glitches,” “bugs” and “dying” media formats. exclusion (of other subjects) and through the construction of a structural Oth-
The Post-Cinema section welcomes proposals on the following topics: erness.
Pornography has always established complex and contradictory relations with
– Who is being made vulnerable: vloggers or creators (Lange 2007); YouTube this scheme. On the one hand, pornography (or, a specific kind of pornography)
or TikTok stars, users/viewers (Bridle 2017); seems to reiterate (and reinforce) the logic of carno-phallogocentrism, in that it
– Where and how is vulnerability manifested or hidden: in industrial features seems to create the quintessential “sovereign subject”: white, male, heterosexual,
and vulnerable affordances; TikTok and surveillance (Allana 2019); vulnerable ablebodied, young, and (upper) middle-class. On the other, pornography (or,
aesthetics; video games as “structures of feeling” (Anable 2018); another kind of pornography) seems to undermine the carno-phallogocentric
– The vulnerability of “failing”: YouTube-videos with zero views; video games scheme from the inside, deconstructing some of the central nodes on which it
as “the art of failure” (Juul 2013); old and forgotten media; creators managing is based, building instead heterotopic spaces in which subjects seem to develop
channels with just a handful of views; new and decentralized subject positions.
– The politics and ethics of “vulnerability”: cultural discourses and philosophical With this in mind, we invite proposals that explore, but are not restricted to,
questions emerging from affect in new/digital: social networking service (SNS) the following topics:
between macrosocial control and microphysical rewriting of the self (Stella
2009); social media affect and democracy; covert media recordings, privacy – Pornographic representations of race, class, age, dis/ability, present and past;
and consent; – Pornographic stereotypes about race, class, age, dis/ability and their “changing
– The affect of vulnerable media: vulnerable ways of seeing, representation and historical contexts” (Rosello 1998: 32);
self-representation; the digitization of bodies (see Brodesco & Giordano 2018); – “Marked bodies” (Holmes 2012) in pornography;
cybertypes and inequalities in the digital realm; digital divides; gamergate, – Re-appropriation of representation by decentralized subjects;
comicgate; – “Oppositional modes of production and perverse viewerships” beyond “the
– The vulnerability of digital technologies and ecology: media dependence on framework of visibility politics organized about the nexus of positive-negative
natural resources; vulnerable humanity and vulnerable earth (Cubitt 2017; images” (Nguyen 2014: 23);
Zylinska & Kember 2012); waste and preservation management of data; – Essentialist vs. constructivist readings of race, class, age, dis/ability and natu-
– The vulnerable materiality of digital media: data storage and data centers; data ralization vs. denaturalization of difference in pornography;
infrastructure and exchange; digital carbon footprint energy. – Fetishization of race, class, age, dis/ability in pornographic production;
– Industrial niches (such as, for instance, interracial, “chav porn,” granny porn,
Porn Studies – Pornographic Subjectivities: disability porn, etc.) and commodification of race, class, age, dis/ability within
Sexuality, Race, Class, Age, Dis/Ability long-tail economy (Anderson 2004);
– Stars and performers, present and past (for example, Jeannie Pepper, Lexington
The 2020 edition of the Porn Studies section of the MAGIS – International Steele, Nina Hartley, Long Jeanne Silver, Brandon Lee, Asa Akira, etc.);
Film Studies Spring School aims to investigate pornography as a dispositive of – Specialized films, film series, websites, platforms channels and categories on
subjectivation (Foucault 2001), that is as a complex and heterogeneous assem- porn aggregators based on race, class, age, dis/ability.
blage of technologies, institutions, discourses, practices, ideologies (Agamben
2009) able to create subjectivity through “a mixed economy of power and knowl-
edge” (Rabinow & Rose 2003: xvi). The main goal of the section is therefore toXIX MAGIS Spring School Living in the Material World: Transdisciplinary Approaches to Past and Present Media Ecologies
Thursday, March 18th Thursday, March 18th, Friday, March 19th
Friday, March 19th
Contemporary Media Ecologies Technological Art and Media
15.00 – 16.00 of Childhood. An Ethical Approach 12.00 – 12.45 Infrastructures
Greetings and Introduction to Michael Brodski (Johannes Media Archaeology – Aleksandra Skowronska
the XIX Edition Gutenberg-Universität Mainz) Practices of Media Lab (Uniwersytet im. Adama
and Exhibition Mickiewicza–HAT Research
Roberto Pinton (Magnifico Approaching the Sublime. Affect Center)
Rettore Università degli studi from the Standpoint of Media It’s not the Archive Fever, it’s the
di Udine) Ecology Lab Fever “A Picture of the Sky, Locked in
Temenuga Trifonova (York Jussi Parikka (Winchester a Box”
Andrea Zannini (Direttore University) School of Arts, University of Erinç Salor (Amsterdam
Dipartimento degli studi Southampton) University College)
umanistici e del patrimonio Chair: Francesco Federici
culturale, Università degli studi (Università degli studi del Hands on Media Matter. A Ecology of Perception and
di Udine) Molise), Annalisa Pellino Science Museum Approach to the Iconology of Representation: The
(Libera Università di Lingue e History of Media Case of the Popular Protest in
Simone Venturini (Scientific Comunicazione IULM, Simona Casonato (Museo Film, News and Social Networks
coordinator, Università degli Milano) Nazionale della Scienza e della Throughout Spanish Media
studi di Udine) Tecnologia “Leonardo da Mercè Oliva, Alan Salvadò,
Vinci”, Milano) Ivan Pintor (Universitat
Diego Cavallotti (Scientific Pompeu Fabra)
coordinator Università degli Chair: Andrea Mariani,
studi di Cagliari) Simone Venturini (Università Chair: Pepita Hesselberth
degli studi di Udine) (Leiden University, Centre for
16.00 – 18.00 the Arts in Society)
Cinema and Contemporary 15.00 – 16.00
Arts – On the Edge of a New Keynote Address:
Dark Age. Media Ecology and Eco-Eco-Punk: How to Live, Act
Art Strategies and Make Things in a Media-
Dirty World
Capitalism and Software Pace Joanna Zylinska (Goldsmiths,
at 19th Century Photographic University of London)
Process: The Tension at
Producing Cyanotype while Chair: Diego Cavallotti
Merging Analog and Digital (Università degli studi di Cagliari)
Techniques
Daniel Bassan Petry (Instituto 16.30 – 18.30
Federal do Rio Grande do Sul) Media Archaeology–
Materiality and
Hacking Surveillance: Radical Infrastructures of Perception
Imagination as Subversive
Strategy for Queer Subjectivities Media Ecology’s Primal Scene:
Irene Pipicelli (Art Curator, McLuhan, Innis & Ong on Radio
Università degli studi di Torino) Yasco Horsman (Leiden
University Centre for the Arts
in Society)Monday, March 22th Monday, March 22th Wednesday, March 24th,
Wednesday, March 24th
11.00 – 13.00 11.00 – 12.00
PRIN 2017 – Modi, The Film and Media Heritage
memorie, culture della – Practices of Film and Media
produzione cinematografica Restoration
italiana (1949-1976)
Mid-Term Meeting (members Media Vulnerability in Film
only) Restoration
Alice Plutino, Giulia Bottaro,
15.00 – 17.00 Alessandro Rizzi (Università
PRIN 2017 – Modi, degli studi di Milano)
memorie, culture della
produzione cinematografica Aporias of Film Restoration: The
italiana (1949-1976) Musical Documents of the Silent
Era Between Film Philology and
Roundtable - Diari di Market Strategies
lavorazione. Note per lo Francesco Finocchiaro (‘F.
studio della produzione fra Venezze’ Conservatory
archivi, pubblicistica, Rovigo)
testimonianze orali
Chair: Simone Venturini
Mariapia Comand (Università (Università degli studi di Udine)
degli studi di Udine); Luisella
Farinotti (IULM, Milano); 15.00 – 16.30
Sara Martin (Università degli Keynote Address:
studi di Parma); Vito Zagarrio Platforming the Classics:
(Università degli studi Roma Tre) Casablanca, Film History, and
the Life Cycle of Enduring
Discussants: Stephen Gundle Hollywood Films
(University of Warwick), Paolo Barbara Klinger (Indiana
Noto (Alma Mater Studiorum University)
– Università di Bologna)
Chair: Jan Distelmeyer
18.00 – 19.00 (Fachhochschule
Curator’s Talk: Potsdam/Universität Potsdam)
Moving Image-Based Curatorial 17.00 – 18.30
Practice Keynote Address:
Aily Nash (Festival curator)) What was Digital. Processes,
Materialities, and Programmatic
Chair. Vincenzo Estremo Power
(NABA, Milano), Lorenzo Jan Distelmeyer
Lazzari (Università degli studi (Fachhochschule
di Udine) Potsdam/Universität Potsdam)
Chair: Simone Dotto
(Università degli studi di Udine)Thursday, March 25th Thursday, March 25th, Monday, March 29th,
Monday, March 29th
17.00 – 18.00
15.00 – 17.00 15.00 – 16.30 Post-Cinema – Roundtable:
Curator’s Talk: Post-Cinema – Immaterial Vulnerable Media in
Bringing the Movies Home. Bits and Material Bytes: Pandemic Times
Technology and Availability by Between Agency and
Way of example of The Criterion Vulnerability Nicole Braida (Johannes
Collection. Gutenberg – Universität
Issa Clubb (Criterion Zero Views. Aesthetics and Mainz); Alberto Brodesco
Collection) Experience of Failure in the (Università di Trento);
Micro-celebrity Economy. Ludovica Fales (University
Chair: Hans-Michael Bock, Giacomo Nencioni (Università College, London);
Swenja Schiemann della Tuscia) Federico Giordano (Università
(CineGraph, Hamburg) per Stranieri di Perugia –
Embracing Vulnerability and Università telematica San
Going Beyond Individuality in Raffaele, Roma); Ivan Girina
We live in An Ocean of Air by (Brunel University); Berenike
Marshmallow Laser Feast Jung (King’s College London)
Ludovica Fales (University
College, London)
Amnesiac: Dementia as a
Metaphor for Media-Specific
Preservation Issues in Sutu’s
These Memories Won’t Last
Giorgio Busi Rizzi (Gent
Universiteit)
Vulnerable Faces. A (not
apocalyptic) Journey Through
Narcissism, Solipsism, Anxiety,
Depression and Other Marvelous
Manifestations of Post-media
Society
Bruno Surace (Università degli
studi di Torino)
Chair: Nicole Braida (Johannes
Gutenberg-Universität Mainz),
Alberto Brodesco (Università
di Trento)Tuesday, March 30th Tuesday, March 30th, Wednesday, March 31st,
Wednesday, March 31st
16.00 – 17.00 18.00 – 19.00
Post-Cinema – The Fragility Porn Studies
of the Memory: Between
Videogames and Webcomics Keynote Address:
A Warrior Will Never Give Up: The Black Erotic Archive
The Narrative Necessity of Death Mireille Miller-Young
in Dead Cells and Sekiro: (University of California, Santa
Shadows Die Twice Barbara)
Matteo Genovesi (Independent
Scholar – Regione Friuli Chair: Enrico Biasin
Venezia Giulia) (Independent Scholar),
Giovanna Maina (Università
The End of Capitalism: The degli studi di Torino), Federico
Economic Imaginary of Zecca (Università degli studi di
Incremental Video Games Bari “Aldo Moro”)
Paolo Ruffino (University of
Liverpool)
19.15 – 20.15
Chair: Ivan Girina (Brunel Keynote Address:
University London), Federico
Giordano (Università per The Pornographic Unconscious
Stranieri di Perugia – Tim Dean (University of
Università telematica San Illinois at Urbana-Champaign)
Raffaele, Roma), Berenike Jung
(King’s College London) Chair: Enrico Biasin
(Independent Scholar),
17.30 – 18.30 Giovanna Maina (Università
Keynote Address: degli studi di Torino), Federico
Zecca (Università degli studi di
Post-games? On New Forms of Bari “Aldo Moro”)
Precarity in Play
Alenda Y. Chang
(University of Santa Barbara,
California)
Chair: Ivan Girina (Brunel
University London), Berenike
Jung (King’s College London)Screenings and Special Events: West Side Stories: Alternative Cinemas from The Bay Area and Tangier
Screenings and Special Events West Side Stories: Alternative Introduced by: Brett Kashmire
Cinemas from The Bay Area (Canyon Cinema, San Francisco)
and Tangier
Curators: Andrea Mariani and
Simona Schneider (Università Wednesday March 31st,
degli studi di Udine) 21.00
Friday, March 19th The Cinémathèque de Tanger
21.00 Celebrates its 15th Year
Post-Pornographic Ecologies: Hand-Me-Downs
A Night of Shorts from the (Yto Barrada, 2011, [8mm &
Canyon Cinema Collection 16mm] HD Video file, 14’)
(San Francisco) The Tangier 8: Threshold Songs
Removed (The Tamaas Association with
(Naomi Uman, 1999, [16 Peter Gizzi and Natalia Al-
mm], Digital file, 6’) mada, 2009, [8mm] Digital
Reckless Eyeballing
file, 9’)
(Christopher Harris, 2004,
[16mm], Digital File, 13’) Six et Douze (Six and Twelve)
Noema (Ahmed Bouanani, 1968,
(Scott Stark, 1998, DVD, 11’) [35mm] HD Video file, 18’)
Still Raining, Still Dreaming Foire de Tanger (The Tangier
(Phil Solomon, 2008, Digital Fair)
file, 12’) (Anonymous, 1970, [8mm]
Winter Beyond Winter HD Video file, 17’)
(Jonathan Schwartz, 2016, Faux départs (False Start),
[16mm] Digital file, 11’) (Yto Barrada, 2016, [16mm],
No Zone Digital file, 22’)
(Greta Snider, 1993, [16 mm],
Digital file, 13’)
Night Hunter Introduced by: Yto Barrada (Ci-
(Stacey Steers, 2011, [35mm], némathèque de Tanger, Tan-
HD Digital file, 16’) gier)
Friday, March 26th, From March 19th onwards -
21.00 Hosted by MUBI (mubi.com)
De quelques evenements sans si-
Intimate Ethnographies: At gnification
Home with Chick Strand (Mostafa Derkaoui, 1974,
[16mm] HD Video File, 76’,
Soft Fiction
(Chick Strand, 1979, [16mm], Restored in 2020 by the Filmo-
Digital file, 59’) teca de Catalunya)
Cosas di mi vida
(Chick Strand, 1976, [16mm], Introduced by: Léa Morin (In-
Digital file, 25’) dependent curator, L’Atelier de
l’Observatoire, Casablanca).FILM FORUM 2021 Mediateca Provinciale di Gorizia “Ugo Casiraghi”/
Goriška Pokrajinska Mediateka “Ugo Casiraghi”
Vrije Universiteit Amsterdam
Università degli studi di Bari “Aldo Moro” Corso di Laurea in Discipline dell’Audiovisivo, dei Media e dello Spettacolo (DAMS)
Goethe-Universität, Frankfurt am Main Corso di Laurea Magistrale in Scienze del patrimonio audiovisivo e dell’educazione ai
Brunel University – London media / International Master in Cinema Studies (IMACS)
Università degli studi di Cagliari Dottorato in Storia dell’arte, cinema, media audiovisivi e musica
IMT School for Advanced Studies Lucca
Université de Lausanne Corso di Laurea in Relazioni Pubbliche
Leiden University Centre for the Arts in Society CEGO – Centro Polifunzionale di Gorizia
University of Malta SCOM – Servizio Comunicazione
McGill University – Montréal
Université de Montréal CREA, Centro Ricerca Elaborazione Audiovisivi, Gorizia
Concordia University – Montréal CRS - Centro Ricerche Sceneggiature, Gorizia
Université du Québec à Montréal – UQAM CINEMANTICA, Laboratorio Cinema e Multimedia, Udine
Université Sorbonne Nouvelle – Paris 3
Università degli studi di Parma In collaboration with the journals:
Fachhochschule Potsdam CINÉMA & Cie, G|A|M|E, L’Avventura. International Journal of Italian Film and
Universität Potsdam Media Landscapes
Università per Stranieri di Perugia
Università degli studi di Sassari Con il sostegno di:
Stockholms universitet
Universiteit Utrecht
Università degli studi di Udine
Associazione Palazzo del Cinema
Hiša Filma, Gorizia
La Camera Ottica,
Film and Video Restoration, Gorizia Progetto di Rilevante Interesse Nazionale (PRIN 2017)
Modi, memorie, culture della produzione cinematografica italiana (1949-1976)
Digital Storytelling Lab, Udine
Cinefest, Hamburg
CineGraph, Hamburg
GRAFICS – Groupe de recherche sur l’avènement et la formation http://www.filmforumfestival.it/
des institutions cinématographique et scénique, Université de Montréal http://www.ff2021.filmforumfestival.it/
labdoc - leLaboratoire de recherche sur les pratiques audiovisuelles documentaires,
Université du Quebéc à Montréal UNIVERSITÀ DIPARTIMENTO DI
DEGLI STUDI STUDI UMANISTICI E DEL
LIRA – Laboratoire International de Recherches en Arts DI UDINE PATRIMONIO CULTURALE
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