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Cinéma - Immersivité, surface, exposition

(book in French)

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Collective

Type: Studies
Subject: Theory
Keywords: theory
Publishing Date: 2013
Publisher: Campanotto
Collection: Zeta cinema
Language: French

Relative size

Physical desc.

Hardcover • 176 pages • 25 €
6 ½ x 9 ½ inches (16.5 x 24 cm)

ISBN

978-88-456-1359-3

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Book Presentation:
Published on the occasion of the 10th Magis Gorizia international film studies Spring school, held in Gorizia, Italy, Mar. 23-29, 2012. - Includes bibliographical references
Essays in English and French.

The relationship between Cinema and Art, highlighted by the work which has been ongoing since 2006 at the MAGIS International Film Studies Spring School (Gradisca d’Isonzo/Gorizia) and the Summer School (Paris), in many ways seems to have developed as a “cinematographic turning point in art” since the 90s, in both artistic and curatorial practices and those which are theoretical and critical. In the meantime, the way in which all the studies on the relationship between Cinema and Art begin to define an area of Film Studies has been highlighted, which is investigated through various subjects, methodological approaches and “scaled dimensions”. Such relationships have developed into prevalent thematic routes, including: image migration, reinvestment, temporality, projection, multiscreens, installation, performance and interactivity, the transition from cinema to museum, the exposed cinema, the “expanded” or “extended” cinema, system migration, system relocation, and “archiving” and “memory”.
The selection of essays included in this book is part of a larger body of contributions to the MAGIS - International Film Studies Spring School 2007-2012, which as a whole constitutes an “observatory” on the phenomenology of the relationship between Cinema and Art in contemporary times. The essays are subdivided into three sections: “Surface, Relief, Profondeur”; “Paradigma”; “Histoires Croisées d’Héritages”. Each section, starting with separate objects of study, examines a series of recurring problems at different levels, inherent in their area of research and investigation.

Contributions from Stéfany Boisvert, Martin Bonnard, Giacomo Coggiola, Adriano D’Aloia, Francesco Federici, Eline Grignard, Renaud Grigoletto, Benjamin Léon, Marc-Emmanuel Mélon, Viva Paci, Martina Panelli, Giacomo Ravesi, Jonathan Thonon, Dick Tomasovic.

Francesco Federici studied Cinema and Visual Arts in Pisa, Venezia and Utrecht and is now a Ph.D candidate in Audiovisual Studies at the University of Udine, in collaboration with Université Sorbonne Nouvelle - Paris 3.
His reaserch and his artistic practice are focused on the relationship between cinema, video art and spectatorship issues, studying the relations between the cinematic viewer and the space that surrounds him.

Cosetta G. Saba is Associate Professor of Film Studies at the University of Udine, where she teaches Film Analysis and Audiovisual Practices in Media Art. Her research is focused on the relations among experimental cinema, video art, media art and on the practises of documentation, restoration, dissemination and access to the audiovisual artworks. She recently edited the books on this topic: Matthew Barney, Polimorfismo, multimodalità, neobarocco (edited by Nicola Dusi, Cosetta G. Saba, Silvana Editoriale, Cinisello Balsamo, Milano, 2012); On Media Art. A Rewarding Anthology (edited by Cosetta G. Saba, erratacorrige, Trieste 2012); Preserving and Exhibiting Media Art: Challenges and Perspectives (edited by Julia Noordegraaf, Cosetta G. Saba, Barbara Le Maître, Vinzenz Hediger, Amsterdam University Press, Amsterdam 2013).

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