- Visual Studies, Aesthetics, Visual Culture, Film Theory, Space and Place, Visual Arts, and 23 moreDesign Theory and Philosophy, Videoart, Cinematic Experience, Housing, Cinematic Space, Home, Belonging and Displacement, Intermediality In Cinema, Laura U. Marks, Postcinema, Postmedia, Urban Screen and Media Architecture, Digital Culture, Web Cinema, Information Technology, Experimental Media Arts, Expanded Cinema, Film Studies, Avant-Garde Cinema, Art and Independent Cinema, Post-Cinema, New Media Art, Media Studies, and Experimental Filmedit
- I am interested in film studies and particularly in experimental cinema and film theories. I also write on screen stu... moreI am interested in film studies and particularly in experimental cinema and film theories. I also write on screen studies and digital media, as well as on contemporary visual arts.
On the latter please visit the NECS CCVA fb group and feel free to join us.
I welcome inquiries from potential PhD students on all the above-mentioned research areas - please do reach out.edit
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Although film and media studies have widely engaged with the different aspects of social space, domestic space in film has rarely been studied in its multiple dimensions. Drawing on a broad range of theoretical disciplines – and with case... more
Although film and media studies have widely engaged with the different aspects of social space, domestic space in film has rarely been studied in its multiple dimensions. Drawing on a broad range of theoretical disciplines – and with case studies of directors such as Chantal Akerman, Agnès Varda, Claire Denis, Todd Haynes, Amos Gitai, Martin Ritt, John Ford, Ila Bêka and Louise Lemoine – this book goes beyond the representational approach to the analysis of domestic space in cinema, in order to look at it as a dispositif.
Adopting this innovative two-fold approach that couples representation and dispositif, the home is studied as an architecture, as the place that embodies, defines and perpetuates the family history, as the milieu of gender and generational struggle, as well as the first site where manifestations of power unfold. All chapters contribute to explore, unpack the complexities and expand on the richness encapsulated in the notion of domesticity and dwelling in its fascinating relation to moving images.
Contributors include:
Anna Backman Rogers, University of Gothenburg
Stefano Baschiera, Queen’s University Belfast
Lukas Brašiškis, New York University
Beth Carroll, University of Southampton
Maud Ceuterick, University of Bergen
Miriam De Rosa, Coventry University
Bryan Konefsky, University of New Mexico
Adrian Martin, Monash University
Nerijus Milerius, Vilnius University
Victoria Pastor-González, Regent’s University London
Laura Rascaroli, University College Cork
John David Rhodes, University of Cambridge
Merrill Schleier, University of the Pacific
Iain Robert Smith, King’s College, London
Adopting this innovative two-fold approach that couples representation and dispositif, the home is studied as an architecture, as the place that embodies, defines and perpetuates the family history, as the milieu of gender and generational struggle, as well as the first site where manifestations of power unfold. All chapters contribute to explore, unpack the complexities and expand on the richness encapsulated in the notion of domesticity and dwelling in its fascinating relation to moving images.
Contributors include:
Anna Backman Rogers, University of Gothenburg
Stefano Baschiera, Queen’s University Belfast
Lukas Brašiškis, New York University
Beth Carroll, University of Southampton
Maud Ceuterick, University of Bergen
Miriam De Rosa, Coventry University
Bryan Konefsky, University of New Mexico
Adrian Martin, Monash University
Nerijus Milerius, Vilnius University
Victoria Pastor-González, Regent’s University London
Laura Rascaroli, University College Cork
John David Rhodes, University of Cambridge
Merrill Schleier, University of the Pacific
Iain Robert Smith, King’s College, London
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The text opens a guest-edited issue of Necsus on gesture. Whilst it introduces the articles comprised in the issue, it also draws on them and on the philosophy of gesture to propose a reflection on gesturality broadly conceived across... more
The text opens a guest-edited issue of Necsus on gesture. Whilst it introduces the articles comprised in the issue, it also draws on them and on the philosophy of gesture to propose a reflection on gesturality broadly conceived across different media.
The entire issue is available to read online Open Access.
The entire issue is available to read online Open Access.
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Cinéma & Cie International Film Studies Journal Vol. XVI, No. 26/27, Spring 2017
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In this lecture I approach desktop cinema proposing a definition and a lineage that touches upon the figure of the table and its digitized versions. To do so, I look at the intersection of exquisitely analog-inspired metaphors. as well as... more
In this lecture I approach desktop cinema proposing a definition and a lineage that touches upon the figure of the table and its digitized versions. To do so, I look at the intersection of exquisitely analog-inspired metaphors. as well as a full array of challenges posed by accelerated digitization, where new practices of creating, archiving and circulating moving images take shape.
In particular, I delve into tabletop performances analyzing Gautam Kansara's "Save as..." (2014) and I shift to computer environment offering a detailed description of Kevin B. Lee's "Transformer: The Premake" (2014). By way of a comparative reading of these two works, which are part of a wider catalogue of recent artworks, I argue they are exemplary of a process of reconfiguration of the screen. I focus the various kinds of screens these works are centered on, highlighting their surface and practiced nature: they are similar yet original spaces, where live or digitized gestures modify the orientation and the disposition of the composing elements of the artwork/film.
In particular, I delve into tabletop performances analyzing Gautam Kansara's "Save as..." (2014) and I shift to computer environment offering a detailed description of Kevin B. Lee's "Transformer: The Premake" (2014). By way of a comparative reading of these two works, which are part of a wider catalogue of recent artworks, I argue they are exemplary of a process of reconfiguration of the screen. I focus the various kinds of screens these works are centered on, highlighting their surface and practiced nature: they are similar yet original spaces, where live or digitized gestures modify the orientation and the disposition of the composing elements of the artwork/film.
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A community engagement project celebrating the architectural heritage of Coventry through moving images and resulting from a joint effort from the Centre for Postdigital Cultures and the University of Warwick. Check out the video for more... more
A community engagement project celebrating the architectural heritage of Coventry through moving images and resulting from a joint effort from the Centre for Postdigital Cultures and the University of Warwick.
Check out the video for more insight: https://youtu.be/Gl52fcqwX58
Check out the video for more insight: https://youtu.be/Gl52fcqwX58
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Screening session devoted to the unique handcrafted film work of experimental animator Kelly Gallagher. The session complements the conference 'Pirate Care' (June 19-20th 2019) organised by the Centre for Postdigital Cultures at Coventry... more
Screening session devoted to the unique handcrafted film work of experimental animator Kelly Gallagher. The session complements the conference 'Pirate Care' (June 19-20th 2019) organised by the Centre for Postdigital Cultures at Coventry University.
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XIV. Symposium – Kieler Gesellschaft für Filmmusikforschung – CREMONA 19–22 MARCH 2019 – – – Sound design, film music and music editing in general exert a primary function in conveying senses of space and place in audiovisual media.... more
XIV. Symposium – Kieler Gesellschaft für Filmmusikforschung – CREMONA 19–22 MARCH 2019
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Sound design, film music and music editing in general exert a primary function in conveying senses of space and place in audiovisual media. Strategies for connoting space and place in film sound and music vary with cinematic practices across history and according to transnational patterns of negotiation between global and local modes of production. At the same time audiovisual communication, when rich in local connotations, allows insights into specific socio-historical contexts and the documentation of human geographies. This conference aims to bring together scholars interested in mapping geographies of music and sound practices in audiovisual media (e.g. film, television, video games, interactive art). We invite fresh perspectives on film music and sound that are willing to embrace aspects ranging from individual approaches to space and place to collective geographies, also considering industrial trends and intermedia connections. Cultural, ethnographic, historical, analytical, data-driven and aesthetic approaches are welcome, as well as research on industrial and commercial practices.
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Sound design, film music and music editing in general exert a primary function in conveying senses of space and place in audiovisual media. Strategies for connoting space and place in film sound and music vary with cinematic practices across history and according to transnational patterns of negotiation between global and local modes of production. At the same time audiovisual communication, when rich in local connotations, allows insights into specific socio-historical contexts and the documentation of human geographies. This conference aims to bring together scholars interested in mapping geographies of music and sound practices in audiovisual media (e.g. film, television, video games, interactive art). We invite fresh perspectives on film music and sound that are willing to embrace aspects ranging from individual approaches to space and place to collective geographies, also considering industrial trends and intermedia connections. Cultural, ethnographic, historical, analytical, data-driven and aesthetic approaches are welcome, as well as research on industrial and commercial practices.
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Call for Papers for the guest edited themed section of NECSUS, Autumn 2019 issue.
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Study day organized at the Disruptive Media Learning Lab at Coventry University with the support of the School of Media & Performing Arts
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Symposium Poster
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Call for essays for the special issue of Cinéma et Cie. International Film Studies Journal #26 (Fall 2016)
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The chapter is included in the volume Media & The City Urbanism: Technology and Communication, edited by Simone Tosoni, Matteo Tarantino and Chiara Giaccardi (Cambridge Scholar, 2013: 168-182). It focuses on the collective digital project... more
The chapter is included in the volume Media & The City Urbanism: Technology and Communication, edited by Simone Tosoni, Matteo Tarantino and Chiara Giaccardi
(Cambridge Scholar, 2013: 168-182). It focuses on the collective digital project 'INSITU' by French filmmaker and media artist Antoine Viviani to draw upon the idea of a media-informed urban visual imagery.
(Cambridge Scholar, 2013: 168-182). It focuses on the collective digital project 'INSITU' by French filmmaker and media artist Antoine Viviani to draw upon the idea of a media-informed urban visual imagery.
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What do moving images do to museums? This text attempts an answer by looking Isaac Julien's Vagabondia (2002) and Camille Henrot's Grosse Fatigue (2013). For Julien, a mirror reflects the image of collector, John Soanes, within numerous... more
What do moving images do to museums? This text attempts an answer by looking Isaac Julien's Vagabondia (2002) and Camille Henrot's Grosse Fatigue (2013). For Julien, a mirror reflects the image of collector, John Soanes, within numerous frames; for Henrot, desktop cinema techniques allow her to open infinite windows, creating an ever-retreating, increasingly miniaturised central image based on the collection of the Smithsonian Institute. This shared effect points to the attitude each artist takes to the museums they study, and to the relationship between the museum collection and its depiction via the moving image.
An analysis of on- and off-screen space is proposed here focussing on the mise-en-abyme effect characterising the creation and arrangement of moving images.
An analysis of on- and off-screen space is proposed here focussing on the mise-en-abyme effect characterising the creation and arrangement of moving images.
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Found Footage Magazine is an independent and printed film journal distributed worldwide. It offers theoretical, analytical and informative content that hinges on the use of archival images in media production practices. FFM fills the... more
Found Footage Magazine is an independent and printed film journal distributed worldwide. It offers theoretical, analytical and informative content that hinges on the use of archival images in media production practices.
FFM fills the void created by the fact that there has not been, up to this time, any forum for the collection and dissemination of information, critical thinking, and discussion of found footage cinema including all its manifestations: recycled cinema, essay film, collage film, compilation film, archival cinema, mash-up…
FFM accommodates a selection of articles and sections aimed at exploring issues of ethics, politics, form and content related to the culture of recycled cinema: monographs, interdisciplinary essays, interviews and opinion pieces concerning the eclectic universe of found footage filmmaking.
Collaborators Issue #3: Sergi Álvarez Riosalido, Paula Arantzazu Ruiz, Alejandro Bachmann, James Benning, Joseph Bernard, Michael Betancourt, Stephen Broomer, Antonin Charret, Jeroen Cluckers, Miriam De Rosa, David de Rozas, Anja Dornieden & Juan David González Monroy (Ojoboca), Thomas Draschan, Atom Egoyan, Siegfried A. Fruhauf, Yervant Gianikian & Angela Ricci Lucchi, Arine Kirstein Høgel, Kevin B. Lee, Matthew Levine, Manu Luksch, Scott MacDonald, Mukul Patel, Edwin Rostron, Nazare Soares, Makino Takashi, Ignacio Tamarit, Guillaume Vallée and Martin Zeilinger.
FFM fills the void created by the fact that there has not been, up to this time, any forum for the collection and dissemination of information, critical thinking, and discussion of found footage cinema including all its manifestations: recycled cinema, essay film, collage film, compilation film, archival cinema, mash-up…
FFM accommodates a selection of articles and sections aimed at exploring issues of ethics, politics, form and content related to the culture of recycled cinema: monographs, interdisciplinary essays, interviews and opinion pieces concerning the eclectic universe of found footage filmmaking.
Collaborators Issue #3: Sergi Álvarez Riosalido, Paula Arantzazu Ruiz, Alejandro Bachmann, James Benning, Joseph Bernard, Michael Betancourt, Stephen Broomer, Antonin Charret, Jeroen Cluckers, Miriam De Rosa, David de Rozas, Anja Dornieden & Juan David González Monroy (Ojoboca), Thomas Draschan, Atom Egoyan, Siegfried A. Fruhauf, Yervant Gianikian & Angela Ricci Lucchi, Arine Kirstein Høgel, Kevin B. Lee, Matthew Levine, Manu Luksch, Scott MacDonald, Mukul Patel, Edwin Rostron, Nazare Soares, Makino Takashi, Ignacio Tamarit, Guillaume Vallée and Martin Zeilinger.
Research Interests: Avant-Garde Cinema, Film Studies, Film Theory, Walter Benjamin, Documentary Film, and 11 moreExperimental Film, Film and Media Studies, Remix Culture, Found Footage, Collage, Montage, & Assemblage, Archive Footage, Found Film, Experimental Film and Video, Detournement, Essay Film, Cultural appropriation, and Collage Film
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Notes on the multi-channel video-installation La vie abstraite (Galerie René Blouin, Montréal).
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Review of the exhibition 'Filmtheater' @Deutsches Filmmuseum in Frankfurt am Main (Novembre 2014 - May 2015), presenting the photographic series 'Theaters' by French photographers Yves Marchand & Romain Meffre. The series is a visual... more
Review of the exhibition 'Filmtheater' @Deutsches Filmmuseum in Frankfurt am Main (Novembre 2014 - May 2015), presenting the photographic series 'Theaters' by French photographers Yves Marchand & Romain Meffre.
The series is a visual meditation on the issue of obsolescence, vintage and the spaces of cinematic experience.
The series is a visual meditation on the issue of obsolescence, vintage and the spaces of cinematic experience.
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Italian black and white television historically had a peculiar relationship to the arts. Especially from the very introduction of this medium in 1954 to the mid-Seventies when the commercial broadcasting entered the scenario, the... more
Italian black and white television historically had a peculiar relationship to the arts. Especially from the very introduction of this medium in 1954 to the mid-Seventies when the commercial broadcasting entered the scenario, the palimpsest of public state-owned television included a cultural programming that explicitly bridged information and knowledge dissemination. Within such binary, arts played an important role: art critics appeared on television, and important art documentaries were produced. In both cases, the public service promoted a kind of divulgation that questioned specific figures and functions belonging to the world of the arts (critics, artists, even the art public, whose consumption was based on the conception of the artworks as material objects exhibited in the museum), contributing at the same time to democratize what was long perceived as an élite area, and to conceive television as a cultural agency rather than a monolithic apparatus. Quality-wise, this model was notably challenged – and beaten – as the Italian television panorama was shook by the widening and diversification of the offer. As these early productions slowly approached the path which would lately turn them in the so called contemporary “art entertainment”, the TV-set entered the gallery space, offering experimental pieces that re-launched typical televisual elements (i.e. live broadcasting, recording, time delay), and – more importantly – opening up the art space to the language of video.
The paper will tackle this influential moment, characterized by a shift in the logics regulating the relationship arts/TV: if on the one hand television was early assessed as a media form able to deliver artistic content, facilitating the access to the latter by means of its dematerialization, on the other hand television in its objectual aspect re-materializes the artistic potentiality of the medium. From the painting displayed on television, to the TV-set exhibited in the gallery as basic device both for video and video art.
The paper will consider television as both a medium, and a device operating across media through processes of appropriation, erosion, preservation and resemantization. More precisely, the paper focuses the exchanges and the cultural practices featuring the development of such opposite, though intertwining trajectories that connect the cathode ray tube and the white cube.
The paper will tackle this influential moment, characterized by a shift in the logics regulating the relationship arts/TV: if on the one hand television was early assessed as a media form able to deliver artistic content, facilitating the access to the latter by means of its dematerialization, on the other hand television in its objectual aspect re-materializes the artistic potentiality of the medium. From the painting displayed on television, to the TV-set exhibited in the gallery as basic device both for video and video art.
The paper will consider television as both a medium, and a device operating across media through processes of appropriation, erosion, preservation and resemantization. More precisely, the paper focuses the exchanges and the cultural practices featuring the development of such opposite, though intertwining trajectories that connect the cathode ray tube and the white cube.
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The article intercepts the current debate dealing with the medium specificity of cinema and theoretical discussions on post-cinematic/post-media phenomena in order to sketch a framework encompassing multidisciplinary contributions (visual... more
The article intercepts the current debate dealing with the medium specificity of cinema and theoretical discussions on post-cinematic/post-media phenomena in order to sketch a framework encompassing multidisciplinary contributions (visual studies, media and cultural studies, phenomenology, and philosophy of design) with the aim of mapping ‘post-cinema’.
Assuming an experiential approach, the exploration takes into account the forms of cinematic experience as the moving image seemingly leaves its own precincts and finds new expressing solutions within everyday encounters. Starting from the emergence of original image-patterns in different contexts of daily life (i.e urban screens, locative media, video set-up and installation in the gallery and theater), the paper focuses on the mechanisms that shape cinematic experience into particular configurations, which I propose to label as ‘space-image’.
This category is proposed through the idea of design, intended as a set of transformation options able to (re-)shape experiential materials. This allows to build up a possible theoretical framework, in which moving images are relocated within in a perspective of organic integration and texture. The result is a first map of the new territories of cinema in our time – the neo-places of the cinematic.
This paper presents a synthetic and revised version of the argument proposed in the volume Cinema e postmedia (postmediabooks, 2013).
Assuming an experiential approach, the exploration takes into account the forms of cinematic experience as the moving image seemingly leaves its own precincts and finds new expressing solutions within everyday encounters. Starting from the emergence of original image-patterns in different contexts of daily life (i.e urban screens, locative media, video set-up and installation in the gallery and theater), the paper focuses on the mechanisms that shape cinematic experience into particular configurations, which I propose to label as ‘space-image’.
This category is proposed through the idea of design, intended as a set of transformation options able to (re-)shape experiential materials. This allows to build up a possible theoretical framework, in which moving images are relocated within in a perspective of organic integration and texture. The result is a first map of the new territories of cinema in our time – the neo-places of the cinematic.
This paper presents a synthetic and revised version of the argument proposed in the volume Cinema e postmedia (postmediabooks, 2013).
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The article offers an analysis of Lech Majevsky’s The mill and the cross (2011), focusing on the concept of tableau vivant as intermedia representative form. Set at the encounter of cinema, performance and painting, the film guides the... more
The article offers an analysis of Lech Majevsky’s The mill and the cross (2011), focusing on the concept of tableau vivant as intermedia representative form. Set at the encounter of cinema, performance and painting, the film guides the spectator along both an exploration of the expressive possibilities of moving image, and a linguistic research that compares the potentialities of the image in the very moment in which it ceases to be a still structure and becomes a site of action. In this frame, the author follows the camera as it is used by the director, and she identifies two strategies – embodiment and re-enactment – used to make the tableau actually vivant.
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The article tackles the current debate dealing with the possibilities of expansion of contemporary cinema, trying to provide theoretical tools in order to build a framework that considers the delicate relationship among space, image, and... more
The article tackles the current debate dealing with the possibilities of expansion of contemporary cinema, trying to provide theoretical tools in order to build a framework that considers the delicate relationship among space, image, and cinematic experience. Moving from the issue of medium specificity, the author identifies some possible contributions from Cultural, Media and Visual Studies with the aim of formalizing some key-concept for the study of contemporary (post-)cinematic forms.
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An interview to Angela Ricci Lucchi and Yervant Gianikian about their personal exhibition at Hangar Bicocca (Milan, April 12 - June 10 2012) 'Non Non Non'. Full reference: Miriam De Rosa, "‘Non Non Non’ – Visiting the exhibition with... more
An interview to Angela Ricci Lucchi and Yervant Gianikian about their personal exhibition at Hangar Bicocca (Milan, April 12 - June 10 2012) 'Non Non Non'.
Full reference: Miriam De Rosa, "‘Non Non Non’ – Visiting the exhibition with Yervant Gianikian and Angela Ricci Lucchi", in NECSUS, Tangibility, (2) Autumn 2012.
Read the review on NECSUS - European Journal of Media Studies: http://www.necsus-ejms.org
Full reference: Miriam De Rosa, "‘Non Non Non’ – Visiting the exhibition with Yervant Gianikian and Angela Ricci Lucchi", in NECSUS, Tangibility, (2) Autumn 2012.
Read the review on NECSUS - European Journal of Media Studies: http://www.necsus-ejms.org
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Le workshop aborde le rôle du cinéma et des nouveaux médias en ce qui concerne l'intimité, l'extimité, la pudeur, l'impudeur, le secret et le public, en s'appuyant sur des oeuvres d'Hervé Guibert, Nan Goldin et Sophie Calle. Le projet... more
Le workshop aborde le rôle du cinéma et des nouveaux médias en ce qui concerne l'intimité, l'extimité, la pudeur, l'impudeur, le secret et le public, en s'appuyant sur des oeuvres d'Hervé Guibert, Nan Goldin et Sophie Calle. Le projet part du principe que ces concepts partagent la même structure ambivalente que la notion d'écran (cacher/révéler). Nous proposons également une extension de ces idées à l'ère numérique en sélectionnant des films qui explorent l'espace de l'écran en tant que lieu de l'intime et de la mémoire personnelle, tout en étant un espace d'exposition de soi.
A travers une programme de films sélectionnée ad hoc et presenté au Vidéodrome 2 (Marseille), nous examinerons notamment la notion de desktop cinéma à travers les oeuvres d'Iris Blauensteiner, Corinne Mazzoli, Basim Magdy, Firat Yücel, ainsi que d'autres artistes.
A travers une programme de films sélectionnée ad hoc et presenté au Vidéodrome 2 (Marseille), nous examinerons notamment la notion de desktop cinéma à travers les oeuvres d'Iris Blauensteiner, Corinne Mazzoli, Basim Magdy, Firat Yücel, ainsi que d'autres artistes.
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A reflection on the future of media studies in the form of a birthday card.
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A critical reflection on online programming and film festivals during the first Covid-19 wave, moving from Kurzfilm Tage Oberhausen.
MFJ, 71/72, Spring/Fall 2020, pp. 14-15.
MFJ, 71/72, Spring/Fall 2020, pp. 14-15.
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Curatorial notes accompanying the exhibition and CCVA research event 'Expanding Cinema', hosted by MIRA Artes Performativas and the Faculty of Fine Arts at the University of Porto, Portugal.
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Curatorial notes accompanying the exhibition Don't believe in subversion, 13-17 December 2017, Dom Kulture @ Alternativa Film/Video Festival, Studentski Grad, New Belgrade
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Curatorial notes accompanying the exhibition Desktop Cinema, held at MMC Luka, Pula, Croatia, July 2017, as part of Cinemaniac: Think Film 2017. The project was conceived and designed as 'digital media focus' complementing the broader... more
Curatorial notes accompanying the exhibition Desktop Cinema, held at MMC Luka, Pula, Croatia, July 2017, as part of Cinemaniac: Think Film 2017.
The project was conceived and designed as 'digital media focus' complementing the broader exhibition Video Television Anticipation/New Collection/Desktop Cinema, co-curated by Aleksandra Sekulić, Branka Benčić, HRT and myself.
In continuation with the temporal motif featuring the other sections of the initiative alluding to 'anticipation' and 'newness', in this short text I relate desktop cinema to the concept of post-media as posited by Félix Guattari, and I propose a critical reflection on its 'power of premonition'. To do so, I refer to the body of artworks selected for the exhibition, which include videos by John Smith, Kevin B. Lee and Susanna Flock.
The project was conceived and designed as 'digital media focus' complementing the broader exhibition Video Television Anticipation/New Collection/Desktop Cinema, co-curated by Aleksandra Sekulić, Branka Benčić, HRT and myself.
In continuation with the temporal motif featuring the other sections of the initiative alluding to 'anticipation' and 'newness', in this short text I relate desktop cinema to the concept of post-media as posited by Félix Guattari, and I propose a critical reflection on its 'power of premonition'. To do so, I refer to the body of artworks selected for the exhibition, which include videos by John Smith, Kevin B. Lee and Susanna Flock.
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Critical text on the 'War Trilogy' by Yervant Gianikian and Angela Ricci Lucchi.
Forthcoming in the catalogue of Fronteira - International Festival of Documentary and Experimental Film, II edition
Forthcoming in the catalogue of Fronteira - International Festival of Documentary and Experimental Film, II edition
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For the 55th Venice Biennale I co-curated a film selection for Pirate Cinema (piratecinema.nl), a performance hosted by Maldives Pavilion. The films are mainly new releases produced by independent visual artists and filmmakers between... more
For the 55th Venice Biennale I co-curated a film selection for Pirate Cinema (piratecinema.nl), a performance hosted by Maldives Pavilion.
The films are mainly new releases produced by independent visual artists and filmmakers between 2009 and 2013. The program offers an international overview about ecological romanticism - key concept of the whole pavilion.""
The films are mainly new releases produced by independent visual artists and filmmakers between 2009 and 2013. The program offers an international overview about ecological romanticism - key concept of the whole pavilion.""
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The short text is part of the 'Two Dollar Movie' project which was initially developed for the Dutch magazine De Filmkrantby Adrian Martin, and eventually landed on LOLA Journal. Taking the shape of a writing game, the project aimed at... more
The short text is part of the 'Two Dollar Movie' project which was initially developed for the Dutch magazine De Filmkrantby Adrian Martin, and eventually landed on LOLA Journal. Taking the shape of a writing game, the project aimed at "describing some unusual, wondrous, perhaps entirely unknown movie stumbled upon somewhere – on sale, in a market, in a discarded box, on a forgotten shelf, in another country … and bought for a tiny price".
My text is devoted to Ondi Timoner's documentary We live in public and tackles a number of issues such as new media and film, visuality and power relations, self-exhibition and contemporary visual culture - besides being an account of an unexpected, fortunate encounter with a film I love.
My text is devoted to Ondi Timoner's documentary We live in public and tackles a number of issues such as new media and film, visuality and power relations, self-exhibition and contemporary visual culture - besides being an account of an unexpected, fortunate encounter with a film I love.
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LAWRENCE WEBB's review of Film & Domestic Space Film and Domestic Space arrived on my desk during the first wave of Covid-19 lockdowns, at a moment when attention had naturally turned inwards to the domestic interior. The book has... more
LAWRENCE WEBB's review of Film & Domestic Space
Film and Domestic Space arrived on my desk during the first wave of Covid-19 lockdowns, at a moment when attention had naturally turned inwards to the domestic interior. The book has therefore gained an unexpected sense of topicality. As the new constraints of physically distanced living have transformed houses and apartments into digitally networked hubs for home working and online social interaction, public and private space have blurred in unforeseen ways. More than ever, the home has become visible via media technologies. Through video calls and the ubiquitous array of the Zoom screen-now a staple of family hangouts, classrooms, and business meetings alike-images of other people's homes have rarely been so present in our everyday lives. On television, broadcasting from home has offered glimpses into the domestic interiors of politicians, celebrities, presenters, and pundits-with the staging and semiotics of bookshelves even briefly becoming a topic of online debate (Guest). In short, the pandemic has not only produced a wide range of domestic imagery. It has also revealed domestic space as a site of media production as well as media consumption, bringing into focus how the home can operate as a type of moving image apparatus-or as Baschiera and De Rosa put it, as a dispositif. As their timely book shows, this exchange between screen media and domestic space has a varied and complex history. The editors note in their useful introduction that domestic space is not a new subject for film studies. We might think, for example, of pathbreaking work by Elizabeth Bronfen on the home and nostalgia in Hollywood cinema, Pamela Wojcik on the "apartment plots" of mid-century New York, Merrill Schleier on the gendered tensions of high-rise living, or John David Rhodes on the ambivalent spectacle of the cinematic house. Domestic mise en scène is also important to scholarship on classical Hollywood melodrama, horror cinema, and the British heritage film, for example (Gledhill; Curtis; Higson; Vidal), and a competing edited volume, Spaces of the Cinematic Home: Behind the Screen Door (2015), stakes out similar territory to this book. Nevertheless, Baschiera and De Rosa's collection does bring something new to the table. It builds and expands on the literature-with an impressive roster of authors, including key scholars such as Schleier, Rhodes, and Laura Rascaroli contributing new material-and offers a rich set of case studies, many of which suggest new directions and possibilities. Though it is still broadly Euro-American, the collection pushes beyond the paradigm of mid-twentieth century Hollywood-which has provided such powerful images of domestic space for scholars such as Rhodes, Schleier, and Wojcik-to consider a broad range of historical and geographical
Film and Domestic Space arrived on my desk during the first wave of Covid-19 lockdowns, at a moment when attention had naturally turned inwards to the domestic interior. The book has therefore gained an unexpected sense of topicality. As the new constraints of physically distanced living have transformed houses and apartments into digitally networked hubs for home working and online social interaction, public and private space have blurred in unforeseen ways. More than ever, the home has become visible via media technologies. Through video calls and the ubiquitous array of the Zoom screen-now a staple of family hangouts, classrooms, and business meetings alike-images of other people's homes have rarely been so present in our everyday lives. On television, broadcasting from home has offered glimpses into the domestic interiors of politicians, celebrities, presenters, and pundits-with the staging and semiotics of bookshelves even briefly becoming a topic of online debate (Guest). In short, the pandemic has not only produced a wide range of domestic imagery. It has also revealed domestic space as a site of media production as well as media consumption, bringing into focus how the home can operate as a type of moving image apparatus-or as Baschiera and De Rosa put it, as a dispositif. As their timely book shows, this exchange between screen media and domestic space has a varied and complex history. The editors note in their useful introduction that domestic space is not a new subject for film studies. We might think, for example, of pathbreaking work by Elizabeth Bronfen on the home and nostalgia in Hollywood cinema, Pamela Wojcik on the "apartment plots" of mid-century New York, Merrill Schleier on the gendered tensions of high-rise living, or John David Rhodes on the ambivalent spectacle of the cinematic house. Domestic mise en scène is also important to scholarship on classical Hollywood melodrama, horror cinema, and the British heritage film, for example (Gledhill; Curtis; Higson; Vidal), and a competing edited volume, Spaces of the Cinematic Home: Behind the Screen Door (2015), stakes out similar territory to this book. Nevertheless, Baschiera and De Rosa's collection does bring something new to the table. It builds and expands on the literature-with an impressive roster of authors, including key scholars such as Schleier, Rhodes, and Laura Rascaroli contributing new material-and offers a rich set of case studies, many of which suggest new directions and possibilities. Though it is still broadly Euro-American, the collection pushes beyond the paradigm of mid-twentieth century Hollywood-which has provided such powerful images of domestic space for scholars such as Rhodes, Schleier, and Wojcik-to consider a broad range of historical and geographical
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Resolutions 3: Global Networks of Video edited by Ming-Yuen S. Ma and Erika Suderburg (Minneapolis: University of Minnesota Press, 2012) and Cinema and Postmedia: Contemporary Film Territories / Cinema e postmedia: I territori del filmico... more
Resolutions 3: Global Networks of Video edited by Ming-Yuen S. Ma and Erika Suderburg (Minneapolis: University of Minnesota Press, 2012) and Cinema and Postmedia: Contemporary Film Territories / Cinema e postmedia: I territori del filmico nel contemporaneo by Miriam De Rosa (Milano: Postmedia Press, 2013) provide two complementary perspectives on the moving image in the postmedia age. While the former discusses the plurality of networked practices of video production and consumption, the latter focuses on developing an aesthetic of immersive spectatorship in ‘other cinema’ contexts. Therefore, in commenting on moving images transitioning across diverse media, both books foster debates on what Raymond Bellour defined as ‘the different nature of the experience of the moving image and the spatialisation of time’.
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PREAMBLEThe analytical camera cannot itself be analyzed. This ironic proposition will be explained. The integral form and appearance of the apparatus are mysteries. It can only aid and abet seeing - it cannot be seen. The rational... more
PREAMBLEThe analytical camera cannot itself be analyzed. This ironic proposition will be explained. The integral form and appearance of the apparatus are mysteries. It can only aid and abet seeing - it cannot be seen. The rational individual would perhaps be forgiven for assuming that it does not exist. Perhaps the legend of this curious object has outstripped any practical raison d'etre it may have once laid claim to. The analytical camera has been described by its creators as "a camera with microscope features, more photographic than cinematographic." It is the result of an assemblage including an optical printer devised to render 9.5 mm film strips projectable, thus available to be studied by cinematic means. However, it can also accommodate 8 mm, 16 mm, and 35 mm. Because of its range and affinity for camouflage, the analytical camera is difficult to spot, let alone trap. It is not easy to approach it taxonomically, and not only taxonomically. No schematic of it ha...
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Stefano Baschiera and Miriam De Rosa’s Film and Domestic Space arrived on my desk during the first wave of Covid-19 lockdowns, at a moment when attention had naturally turned inwards to the domestic interior. The book has therefore gained... more
Stefano Baschiera and Miriam De Rosa’s Film and Domestic Space arrived on my desk during the first wave of Covid-19 lockdowns, at a moment when attention had naturally turned inwards to the domestic interior. The book has therefore gained an unexpected sense of topicality. As the new constraints of physically distanced living have transformed houses and apartments into digitally networked hubs for home working and online social interaction, public and private space have blurred in unforeseen ways. More than ever, the home has become visible via media technologies. Through video calls and the ubiquitous array of the Zoom screen—now a staple of family hangouts, classrooms, and business meetings alike— images of other people’s homes have rarely been so present in our everyday lives. On television, broadcasting from home has offered glimpses into the domestic interiors of politicians, celebrities, presenters, and pundits—with the staging and semiotics of bookshelves even briefly becomin...
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What do moving images do to museums? This text attempts an answer by looking Isaac Julien's Vagabondia (2002) and Camille Henrot's Grosse Fatigue (2013). For Julien, a mirror reflects the image of collector, John Soanes,... more
What do moving images do to museums? This text attempts an answer by looking Isaac Julien's Vagabondia (2002) and Camille Henrot's Grosse Fatigue (2013). For Julien, a mirror reflects the image of collector, John Soanes, within numerous frames; for Henrot, desktop cinema techniques allow her to open infinite windows, creating an ever-retreating, increasingly miniaturised central image based on the collection of the Smithsonian Institute. This shared effect points to the attitude each artist takes to the museums they study, and to the relationship between the museum collection and its depiction via the moving image. An analysis of on- and off-screen space is proposed here focussing on the mise-en-abyme effect characterising the creation and arrangement of moving images.
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The text retraces the current debate around the notions of post-cinema and post-media. Employing a dialogic approach, the editors propose a theoretical framework to provide context for the main contributions on these topics published in... more
The text retraces the current debate around the notions of post-cinema and post-media. Employing a dialogic approach, the editors propose a theoretical framework to provide context for the main contributions on these topics published in recent years, highlighting the conceptual connections to the previous scholarship. The resulting reflection serves as a platform to introduce and situate the contributions to this special issue. In particular, the editors propose to use the term configuration to account for the various aspects and facets of contemporary cinematic experience. The idea for this special issue of Cinema&Cié came out of a dialogue. Having both worked on questions of post-media and post-cinema for some time, and for a time in the same institution, we found that one point where our interests intersected was the question of temporality, i.e. the contours of the historical break suggested by the prefix ‘post-’. Usually, productive intersections involve twists, negotiations, o...
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Información del artículo I tesori dell'effimero: "Wunderkammern", creazioni filmiche e il potere magico dell'immagine-oggetto.