XI MAGIS Gorizia International Film Studies Spring School ...

Coordinamento scientifico/Scientific coordinator:Leonardo QuaresimaComitato scientifico/Scientific committee:Mariapia Comand, RoyMenarini, Francesco Pitassio,Cosetta Saba, SimoneVenturini (Università degliStudi di Udine)Coordinamento artistico/Artistic coordinator:Sergio FantProgetto/Project:Who’s What?IntellectualProperty in the Digital Era:Alessandro Bordina, SaraMartin, Roy Menarini,Francesco Pitassio,Leonardo Quaresima,Simone Venturini, FedericoZecca (Università degli Studidi Udine), Roberto Braga(Università di Bologna)In collaborazione con/In collaboration with:ACE –Association desCinémathèques EuropéennesPorn Studies: Cartography ofPornographic Audiovisual:Enrico Biasin, FedericoZecca (Università degli Studidi Udine), Giovanna Maina(Università degli Studi di Pisa)The Film Heritage:Andrea Mariani, SimoneVenturini (Università degliStudi di Udine), Hans-Michael Bock (CineGraph,Hamburg), Jan Distelmeyer(Fachhochschule Potsdam– EMW, FH + UniversitätPotsdam)Cinema italiano contemporaneo:Roy Menarini (Universitàdegli Studi di Udine)Proiezioni/Screenings:Sergio Fant, Roy Menarini,Andrea Mariani (Universitàdegli Studi di Udine)Premio Limina:Sara Martin, Roy Menarini,Mariapia Comand (Universitàdegli Studi di Udine),Valentina Re (UniversitàCa’ Foscari, Venezia)Aleš Doktorǐc, VincenzoEstremo, Ludovica Fales,Francesco Federici, GiacomoFerigioni, Giuseppe Fidotta,Federico Giordano, AndreaMariani, Martina Panelli,Mirco SantiUfficio stampa/Press:Volpe & Sain ComunicazioneSito internet/Website:OnLabDirezione tecnica/Technical direction:Gianandrea Sasso (CREA,Centro Ricerca ElaborazioneAudiovisivi - Gorizia-Università degli Studidi Udine), Marco Comar(CINEMANTICA, Universitàdegli Studi di Udine), MircoSanti (La Camera Ottica,Film and Video Restoration,Gorizia -Università degliStudi di Udine)Assistenza tecnica/Technical assistance:CLAV (Università degli Studidi Udine),Transmedia SpaIndice/ContentsTesto/Text:Who’s What?IntellectualProperty in the Digital EraTesto/Text:What If Internet Were Notthe Devil Itself?Guido ScorzaTesto/Text:In Defense of Digital PiracyRoberto BragaXX Udine InternationalFilm Studies Conference/ProgrammeMarch, 12-14XI MAGIS GoriziaInternational Film StudiesSpring SchoolProgrammeMarch, 15-21Proiezioni/ScreeningsUdine/GoriziaMarch, 12-21Colophon/ContentsCinema & ContemporaryVisual Arts:Alessandro Bordina,Francesco Federici(Università degli Studi diUdine)Post-cinema: Videogame/Animation/Comics:Alberto Brodesco (Universitàdegli Studi di Trento),Federico Giordano(Università per Stranieri diPerugia), Ludovica Fales(Università degli Studi diUdine), Pierre Chemartin,Philippe Marion (GRAFICS,Université de Montréal)Coordinamentoorganizzativo/Organisationcoordinators:Sara Martin, Federico ZeccaOrganizzazione/Organisation:Antonella Corsale, SoniaDe Marchi (ARES – Arearelazioni esterne – Universitàdegli Studi di Udine),Maurizio Pisani, Loris Nardin,Daniela Fabrici (Dipartimentodi Storia e Tutela dei BeniCulturali – Università degliStudi di Udine), AlbertoBeltrame, Anna Bertolli,Enrico Biasin, AlessandroBordina, Cristina Cristofoli,Disegni e progetto grafico/Graphics:Stefano RicciImpaginazione/Layout:Marco De Anna (ARES– Area relazioni esterne,Università degli Studi diUdine)Traduzione testi di/Translate text by:Roberto Braga, Guido Scorza;Ludovica Fales (Universitàdegli Studi di Udine)

Who’s What? Intellectual Property in the Digital EraUdine, March 12-14XX Udine International Film Studies ConferenceThe recent transformations in media landscape, determined by the digital revolution and the birthof Web 2.0, have brought the issue of intellectual property to the attention of jurists, consumersand, in a much wider sense, stakeholders.Due to the unprecedented proliferation of media platforms, the circulation of audio-visualproducts has become increasingly difficult to control, consequently undermining the usualstrategies of copyright protection and ownership preservation. Besides, as a matter of fact, theemergence of a new digital “sharing culture” – sustained by peer-to-peer communities, socialnetworks and the contemporary “gift economy” – has determined a radical change in the generalperception of intellectual property itself. Within this networked society, the nature of intellectualproperty has become more and more ambiguous, paving the way to the rise of renewed formsof users creativity, partially grounded on the grassroots re-appropriation and re-distribution ofpre-existing (licensed) materials (as in the case of the so-called fan fiction, for instance). As aconsequence, the question of intellectual property in the digital era is at the very centre of thepublic debate and has also begun to draw the attention of scholars and researchers. Nevertheless,film and media studies are not new to the investigation of such an issue which, on the contrary,has been extensively discussed during the history of cinema and moving images technologies.Mindful of these assumptions – and in line with its traditional interest in the interplay betweenearly cinema practices and contemporary developments –, the XX Udine International FilmStudies Conference would like to suggest the following research perspectives:The original and the copy. The digital “existence” of audio-visual products has brought intoquestion this (already problematic) opposition. The consequences of this new situation, in fact,involve both the practices of production and the distributive ones. In this sense, piracy appearsto be related more to this drastic change in the status of the “oeuvre” than to disobedience(either individual or organized).Copyright. Are the traditional forms of copyright protection appropriate for the new digitalenvironment in which audio-visual products circulate? Or are they just remnants of out-dated socialand legal practices? A historical overview of the copyright institution can help us to understand itsbasis and reasons, without taking for granted its existence as a sort of “natural right”.

Plagiarism and imitation. In which ways film narratives and styles have been preserved from plagiarismand imitation during film history and within different national contexts? From American Biographtrademark engraved on D.W. Griffith’s movies scenography to the Hollywood studios’ legaldepartments, what kind of legal instruments and productive practices have been used for the purpose?Author and authors. Which professional roles have been acknowledged for their creativecontribution, in which historical and geographical contexts, and in which proportion? Fromthe role of screenwriters during the 1910s to the property rights of stills photographers, creativecontribution has not been uniformly valued in film industry during its history.Referent and image. The body and the work of actors are regulated by several legal constraints,which are informed by different conceptions of the subject/industry relationship. From theHollywood studio system model, which alienates the actor from his or her own image, to thecomplex issues raised by the contemporary motion capture technology, the relations betweenindividuals and their bodily appearance needs to be properly investigated.Who’s What? Intellectual Property in the Digital EraProperty and the archive. Film archives traditionally have complicated relations with thecopyright owners of the images they preserve. These relations are connected to differentconceptions of the social function and of the artistic value pertaining to the moving imagesintellectual property. A comparative survey of legal frameworks and of film preservation policiesallows us to understand the features and the historical development of the different film cultures.Gorizia, March 15-21XI MAGIS – International Film Studies Spring SchoolThe XI MAGIS International Film Studies Spring School, organized by the University ofUdine in collaboration with its network of partners – the Universities of Amsterdam, Birkbeck-University of London, Bochum, Fachhochschule Potsdam, Frankfurt, King’s College-London,Liège, Malta, Milano-Cattolica, Paris III, Paris-Est-Marne-la-Vallée, Pompeu Fabra-Barcelona,Potsdam, Pisa, Sunderland and CineGraph/CineFest-Hamburg, GRAFICS/Université deMontréal, Associazione Culturale Maiè – will be articulated in the following four sections:Cinema & Contemporary Visual Art: Media Arts and Intellectual Property Rights. This sectionwill focus on the relationships between the intellectual property rights and contemporary

Who’s What? Intellectual Property in the Digital Eraartistic practices. As matter of fact, on the one hand, the limits imposed by intellectual propertyrights affect distribution, access, dissemination policies as well as production and exhibitionpractices of audiovisual contemporary artworks. On the other hand, since the beginning of the20th century a deconstructive disposition toward the concepts of authoriality, originality andauthenticity could be found in the contemporary artistic practice. From the 1990s, the advent ofdigital technologies in art production emphasized these tendencies which tend to increase thecomplexity of the relations between art production, reception and ownership.The Film Heritage: Film between Accessibility and Governance. The section is organized by Universityof Udine - La Camera Ottica Film and Video Restoration, CineGraph Hamburg, FachhochschulePotsdam - EMW, FH + Universität Potsdam. As a follow-up to the outcomes of the the last edition,this year the section aims at studying how society influences the production and the consumptionof movies. In particular, the section will focus on the historical and contemporary ways of providingand getting access to film, with an eye to the manifold interdependences between film, culture andpolitics. Particular attention will be devoted to the following topics: censorship, copyrights, laws,subsidies and finances, up to the broad and more explicitly bio-political issues.Post-Cinema/Videogame/Animation/Comics: A New Syntax of Desires II. Within thecontemporary mediascape, new media as well as old ones (videogames, animation, digitalcinema, comics etc.) are increasingly invested with a “libidinization process” and have becomethe object of new forms (and syntaxes) of “desire”. New media create in fact new needs,consequently giving rise to new desires. The aim of this section is to analyse this process bytrying to answer the following questions: What kind of desire is generated by these new (andrenewed) media and by their (new) forms of expression? What is the function of desire in atechnological, gamificated, software-addicted medial society? How is the body engaged by thedynamics of desire within such a context?Cartography of Pornographic Audiovisual: Eurasian Pornography. This section aims at mappingthe distinguishing features of national pornographies and the glocalization processes throughwhich particular national pornographic practices are translated into transnational forms. Inparticular, this year the section is dedicated to the analysis of the development and the specificcharacters of Eurasian pornographies, with a particular focus on the following issues: eurasianpornographic industries and economies; eurasian pornographic genres and styles; eurasianlegislative systems and censorship; eurasian “auteurs”, commercial/mainstream producers andstardoms; modes of consumption, intellectual property and piracy within Eurasian audiences.

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Text/Guido ScorzaWhat if Internet Were Not the Devil Itself?Precisely in 1982, Jack Valenti, at the time president of the Motion Picture Association ofAmerica (MPAA), declared before the Congress of the United States of America that VCR – atechnology which was relentlessly spreading in American homes – would become for the filmindustry and the audience what the Boston Strangler had been for women alone at home.A new technology like VCR was looked at with suspicion and terror by the film industry asthough its popularity was directly proportional to the disappearance of a healthy and flourishingindustry.The history of the last thirty years has shown how those predictions were totally wrong.Not only the video has not “strangled” film industry, but it opened a new and prosperousmarket sector like home video, revealing the power of home theatre to the audience and leadingthe way to a different experience. This very experience later proved to be useful and valuablewith DVDs replacing tapes on the shelves.Today, history seems to repeat itself again.The fear still hovering on new digital technologies and computer systems and nourished byglobal film industry originates from the same conviction that considered VCR as a potentialdisaster for film industry.Today film industry looks at internet as the devil itself, considering it as the most dangerousrival’. Internet is looked at as the worst enemy and it’s necessary therefore to fight it withMachiavelli-like devices, the end being always justified by the means used. It doesn’t matter tothe international film industry whether the way towards the release of the film from network’sterror will lead us to compromising the relationship between those who make cinema and thosewho enjoy the cinema. It doesn’t matter if along the way it will be necessary to establish analliance with those same governments and those powers which are opposing the free flow ofideas.For most representatives of the industry a film on the web is just a lost film. Users will gobble upits value and this means destroying multimillion-dollar production investments in a few hours.Any new production investment will be discouraged.It is a general opinion that Internet will transform glorious Hollywood industry in a relentlesslyanti-economic enterprise.No experience will help people heading film world to look for a different approach. Certainlynot the experience connected with video recorder nor that other very enlightening experiencelived by the colleagues of music industry a few years ahead of their time.The whole thing looks hopeless, at least up to now.

The online circulation of movie contents is considered an enemy almost by definition. Theresult is that films land on the Net through legal channels too late and almost without anypromotional effort.According to film industry, this phenomenon ought to be governed by increasing regulationsdesigned to restrict copyright laws, which at the time are already very strict. All this in orderto offer the owners of these rights more effective tools to be used against whoever facilitates orreceives films online.The whole thing looks like a scene taken from the famous movie “cops and thieves” with filmindustry running after governments from all over the world to help them run after online users.It is quite clear that they are running around in circles and nobody is catching up with theother, not even stopping him, which is quite obvious considering how technologies and digitalcontents are in constant and impossible to stop evolution.All this giving way to dangerous misunderstandings.Still, it would be unreasonable and it would be wrong to blame the content industry whichrightly demands users to comply with the rules of intellectual property, which are too oftenviolated.Downloading or watching a movie in streaming without paying and without the copyright’sowner permission is prohibited and it is wrong – besides the fact that it is illegal – in the sameway that it is wrong to walk out of a mediastore with a dvd in your pocket.Then, there are no excuses for digital pirates.However, we must admit that the approach of the film industry to online content circulation iswrong and surprisingly difficult to change.The reasons behind such a strong judgement are many. It is difficult to sum them up since theyare connected with film distribution system and endless time and space limitations within it.Internet is by definition a network of open and interconnected networks. This means that everytime a content is made available online in a country within a certain timeframe, the globalnetwork users expect to be able to use it no matter in what country they are living.Whenever legal access to a specific content is not made available in our own country, we feelpushed to find it on parallel and often illegal markets.The same happens with the time windows system. This system makes films available for acertain timeframe through specific channels (i.e. cinemas) making it unavailable online. In thiscase, the promotion aimed at cinema audience will create frustrating expectations for those whowould legitimately like to be able to access the same film online.The same kind of frustration creates often the need to reach those contents through illicitchannels.Text/Guido Scorza

Text/Guido ScorzaThis kind of mistake on the part of film industry may be effectively portrayed by an image quitefamiliar to western fans. It is quite clear that online audience, faced by existing commercial andlegal boundaries, will not be easily pushed into a specific enclosure – such as movie theatres,home video or pay tv.Digital audience is now used to accessing any kind of content regardless of temporal or spatialboundaries. Digital audience is used to considering any content existing in cyberspace asaccessible at any time.Therefore it would be logical for film industry to take advantage of this desire or need to findcontents online. Something that already took place as in the musical world – and this by offeringaccess to their audiences through a multi-layered cross-platform system.It would be wrong, of course, to think that this device would be enough to solve the oldquestion of piracy. It would also be wrong to think that the reduction of the time windows andthe long-awaited worldwide distribution licenses might be the solution to all problems.An important cultural question would still remain unsolved, and it would be hypocritical notto recognize it. It would still be difficult to explain a ‘digital native’ what is the value of anintangible work of art and how wrong it is to take advantage of it illegally.To all effects this is a cultural battle that requires fighting. In order to win it it is important torebuild a trustworthy relationship between film industry and its audience. At the moment thisrelationship is weak as audience sees the industry as a rich and greedy antagonist towards whicheven using Robin Hood-like devices is ethically correct.What if we tried to look at the Internet as the most valuable ally rather than as the devil?Among other things, internet represents the media with the largest capacity of widespreadaudiovisual content’s distribution in human history.Guido Scorza

In Defense of Digital PiracyOnline piracy is an elusive phenomenon, difficult to analyse since it changes so suddenly andunpredictably. So-called pirates are gathering around well-known platforms and then aremigrating to other file-sharing systems, following unexpected routes and suggesting new waysof making content available by opening new forms of participation. This tendency is confirmedby the recent shut-down of illegal services like Megaupload or Library.nu, heralded as a greatvictory of cultural industries on peer-to-peer. In fact, it turned out to be just a superficial kickto piracy. Piracy changed skin again and was able to shape up other more resilient and lessmonitored practises.The enforcement of copyright and intellectual property, which is manifested by restrictive lawslike Hadopi in France or the AGCOM motions in Italy – not to mention the much-discussedSOPA and PIPA bills – not only is often ineffective, but keeps widening the gap between piracyand legislation. All this leaving aside the social and economic effects of these measures. Forexample, who is paying for the monitoring of users’ connections? Will their privacy be at risk?What happens to a family when, in a society strongly mediated by the Internet, connection tothe Web is cut? Certainly we know that users always find ways to go around these restrictions,by using technological devices to encrypt connections, transferring contents through physicalmedia, which are more difficult to share but less traceable.The natural mutability and adaptability of piracy practises left operators of the culturalindustries extremely unprepared in front of practises which they consider impossible to stop.They tend to act more and more in a short-sighted way, showing their inability to deal withthe changing structure of the media sector. The backwardness of some positions is even moreevident in this year’s reports of Univideo, FAPAV, MPAA, RIAA. Beside the economic crisis,piracy is considered as the only responsible for the drop in consumption – these assumptionsnot being supported by any analytical and methodological framework.On the other side, a growing number of independent studies has shown a positive effect of filesharingon cultural consumption. The degree of “substitution”, meaning the lost products’ salescaused by piracy, is difficult to determine and quite controversial. There is certainly no one toone relationship between file-sharing practices and drop in consumption.In the absence of a comprehensive analysis of homogeneous samples, however, the image ofthe “pirate” seems to be different from the character which has been created by the culturalindustries. The file-sharers community show a tendency to legal consumption that is muchstronger than other users of the Network. This is one element is opening up new businesspossibilities for the cultural industries. The so-called sampling effect, that is to say the possibilityText/Roberto Braga

Text/Roberto Bragaoffered by piracy to audiences to free testing a product before buying it – could introduce newcustomers to new contents. Piracy works like Ryanair: once you get used to flying (low-cost) youare no longer willing to go back.So, one might say, what’s the problem then? If piracy acts as a form of collective consumption,able to facilitate content delivery, filling the gaps of cultural industries and reducing promotionalcosts by activating grassroots promotion, why are pirates hated so strongly?The problem lies in the cultural industries patterns – and not only theirs – still treating piracyas a revenue-killer. Piracy acts as innovation booster, it is a kind of smart drug able to renewdistribution practises, marketing actions and business models. However, such changes requirea reorganisation of entire production sectors in order not to show themselves through businessmodels which have not yet been tested enough. This process will open up new problems. If itis true that piracy can create demand for complementary products, we still need to understandwhat makes a consumer invest in a product line of a multimedia franchise rather than another.If generosity and speed are the heart of the “pirate services”, how can cultural industries dealwith the lower orders, the only ones so far capable of filling the gaps in distribution systems?And yet, how to convert sharing into a sustainable economic model? How to convert file-sharersin public for all purposes, and then make them measurable and attractive to third parties? Howto protect intellectual property without prejudicing the rights of users, fair use presumption ofinnocence? How to enhance the practice of file-sharers, meaning an active part in determiningthe success of a cultural product?No single answer to all this exists today but we know for sure that piracy continues to be themain competitor of the cultural industries.Roberto Braga

XX Udine International Film Studies Conference

Tuesday, March 12,9.30-13.00Università degli Studi diUdine, Sala Convegniprof. Roberto Gusmani,Palazzo AntoniniInterventi di saluto/GreetingsCristiana Compagno,Magnifico Rettoredell’Università degli Studidi UdineElio De Anna, Assessoreregionale alla Cultura, Sport,Relazioni Internazionali eComunitarieFurio Honsell, Sindaco delComune di UdineLuigi Reitani, Assessore alTurismo e alla Cultura delComune di UdineElena Lizzi, Assessore allaCultura della Provincia diUdineNeil Harris, Direttore delDipartimento di Storia eTutela dei Beni CulturaliPresentazione/IntroductionLeonardo Quaresima(Università degli Studi diUdine)Jane Gaines(Columbia University)Historical Paradoxes of theOriginal CopyPeter Decherney(University of Pennsylvania)Hollywood and the PublicDomainDiscussione/DiscussionPausa/BreakAndré Gaudreault(Université de Montréal)Le Relatif anonymat del‘enregistreur d’opéras à l‘èrede l‘agora-téléVinzenz Hediger(Goethe-UniversitätFrankfurt)Rights as IncentivesAlexander Peukert(Goethe-UniversitätFrankfurt)The Digital AuthorDiscussione/DiscussionPresiede/Chair:Leonardo Quaresima(Università degli Studi diUdine)Tuesday, March 12,15.00-19.00Workshop A - From the SilentEra to Digital PiracySala Tiepolo, Palazzo CaiselliTom Paulus(Universiteit Antwerpen)Whose Motif Is It Anyway“Scènes à faire” and Author‘sRights During the ClassicalStudio EraVito Adriaensens(Universiteit Antwerpen)A Singular Flower? GaumontProductions and the Pan-European Style 1908-1914Anke Brouwers(Universiteit Antwerpen)Writing Themselves on to theFilm: Authors and Autographsin the Silent EraDiscussione/DiscussionPausa/BreakFranck Gloglo(Université Laval, Québec)Finding the Law: The Caseof Copyright and RelatedRights Enforcement in theDigital EraLucia Tralli(Università di Bologna)“Some Rights Granted.”Remixing Media - OnlineDiffusion and Fair UseDoctrineDiscussione/DiscussionPresiede/Chair:Peter Decherney(University of Pennsylvania)Tuesday, March 12,15.00-19.00Workshop B - FromEconomic Problems toArtistic PracticesSala Riunioni, PalazzoCaiselliDaniele Doglio(Università Cattolica delSacro Cuore, Milano)Not a “Natural Right”:Copyright Is Still the OnlyWay to Properly FundProductionClaudio Celis(Cardiff University)For a Critique of the PoliticalEconomy of IntellectualPropertyDiscussione/DiscussionPausa/BreakIngrid Stigsdotter(Linnaeus University)Los Angeles Distributes Itseflon Web.2Lance Rickman(University of Essex)The French Nobleman‘s Wife:Imitation and InnovationDiscussione/DiscussionPresiede/Chair:Marc Vernet(Université de Paris Diderot)Proiezioni/ScreeningsUdineTuesday, March 12, 21.00Cinema Visionario, viaAsquini 33, UdineThe We and The I(Michel Gondry, 2012, 103’)Udine, Tuesday, March 12

Udine, Wednesday, March 13Wednesday, March 13,9.30-13.00Università degli Studi diUdine, Sala Convegniprof. Roberto Gusmani,Palazzo AntoniniLeontien Bout(Eye Film Institute)Copyright: Burden orBlessing? An Overview of theImpact of Copyright RelatedIssues on Cultural HeritageInstitutionsNicola Mazzanti(Cinémathèque Royale deBelgique)Yes, We Can... Actually, NoWe CannotCoordinato da/Coordinated by:Nicola Mazzanti(Cinémathèque Royalede Belgique, presidentAssociation desCinémathèques Européennes)Discussione/DiscussionPausa/BreakPresentazione degli ultimivolumi delle collane MimesisCinema, Mimesis Cinergie,Mimesis Media/SexPresentation of the last issuesof the Book Series MimesisCinema, Mimesis Cinergie,Mimesis Media/SexPresentazione del libro“Preserving and ExhibitingMedia Art”, a cura di JuliaNoordegraaf, VinzenzHediger, Barbara LeMaître and Cosetta Saba,Amsterdam, University Press,2013Presentation of the book“Preserving and ExhibitingMedia Art”, edited by JuliaNoordegraaf, Vinzenz Hediger,Barbara Le Maître and CosettaSaba, Amsterdam UniversityPress, 2013Rosanna Maule(Concordia University,Montréal)Reconfiguring IntellectualProperty: Archiveology asCritical PracticeLeonardo Chiariglione(Independent scholar)Standards and IntellectualProperty in Film Content LifeCycleVincenzo D’Andrea(Università degli Studi diTrento)The Apparent Convergence ofOpenness and ParticipationDiscussione/DiscussionPresiede/Chair:Vinzenz Hediger(Goethe-UniversitätFrankfurt)Wednesday, March 13,15.00-17.30Workshop A - IntellectualProperty: A Worldwide SurveySala Tiepolo, PalazzoCaiselliManuel Garin, Alan Salvadó(Universitat Pompeu Fabra,Barcelona)Simultaneous Property andExperimental Piracy in PerePortabella‘s Vampir CuadecucClara Darmon(Université Paris 3)The Forms of Authors’ RightViolation in Russia: TheEconomic Transation and theRedefinition of the Author(1970-2010)Discussione/DiscussionPausa/BreakMounia Bel-Afia(Université Paris 3)Les Droits d‘auteursaudiovisuels au pays destournagesNicolò Gallio, MartaMartina(Università di Bologna)The Crowd StrikesBack: Crowdsourcing,Crowdfunding and theChanges of IntellectualPropertyDiscussione/DiscussionPresiede/Chair:Rosanna Maule(Concordia University,Montréal)Wednesday, March 13,15.00-17.30Workshop B - IntellectualProperty and Archival PracticesSala Riunioni, PalazzoCaiselliRechsteiner Emjay(Eye Film Institute)Of Orphans and Widow WorksClaudy Op den Kamp(Plymouth University)The Greatest Films NeverSeen: Audiovisual Archivesand the Orphan WorksProblemCaroline Renouard(Université de Paris-Est)Restoration amateur - repackde films rares: pour unelégitimation de la cinéphiliepirate?Discussione/DiscussionPresiede/Chair:Gianni Celata(Università di RomaLa Sapienza)Pausa/BreakOrphan Films and theEuropean Union CopyrightReformTavola rotonda coordinatada/Round Table coordinatedby Association desCinémathèques EuropéennesPresiede/ChairNicola Mazzanti(CinémathèqueRoyale de Belgique,president Associationdes CinémathèquesEuropéennes)Anna Batistová(Národní Filmovy´ Archiv)Leontien Bout(Eye Film Institute)Anna Fiaccarini(Fondazione Cinetecadi Bologna)Emiliano Morreale(Centro Sperimentale diCinematografia - CinetecaNazionale)Ivan Nedoh(Slovenska Kinoteka)

Evento Speciale/Special EventWednesday, March 13, 18.00Cinema Visionario, viaAsquini 33, UdineTavola rotonda/Round tableI media contemporaneitra pirateria e proprietàintellettualeContemporary MediaBetween Piracy andIntellectual PropertyCoordinato da/Coordinatedby Simone Arcagni eRoy MenariniA seguire/FollowingPremio Limina/Limina AwardAssegnazione dell’ XIPremio Limina perlibri di cinema italiani einternazionali pubblicatinel 2012Awarding assignment ofthe XI Limina Award forItalian and InternationalFilm Studies books publishedin 2012In collaborazione/In collaboration withMyMovies.itProiezioni/ScreeningsUdineWednesday, March 13, 21.00Cinema Visionario, viaAsquini 33, UdineLe proprietà intellettuali/le libertà intellettualiDino Risi: gli esordi ritrovatiVerso la vita(Dino Risi, 1946, 12’)Tigullio minore(Dino Risi, 1947, 9’)La provincia dei sette laghi(Dino Risi, 1948, 10’)La fabbrica del Duomo(Dino Risi, 1949, 10’)1848(Dino Risi, 1949, 11’)Presentati da/Presented bySergio Toffetti(Archivio Nazionale delCinema d’Impresa di Ivrea- Centro Sperimentale diCinematografia)Un’opera non è di un autoree neppure la vita lo è:Carmelo BeneBis(Paolo Brunatto, 1966, 20’)Il canto d’amoredi Alfred Prufrock(Nico D’Alessandria, 1967,20’)Hermitage(Carmelo Bene, 1967, 26’)Presentati da/Presented byEmiliano Morreale(Centro Sperimentale diCinematografia - CinetecaNazionale)Thursday, March 14,9.30-13.00Sala Convegni prof. RobertoGusmani, Palazzo AntoniniGuglielmo Pescatore(Università di Bologna)Piracy and Consumption ofDigital GoodsMarc Vernet(Université de Paris Diderot)L’Auteur et les procédureslégales aux Etats-Unis entre1913 et 1917Valentina Re(Università Ca’ Foscari, Venezia)“Stop, Thief!”: MediaIndustries, File Sharing andThe Rhetoric of Anti-piracyCampaignsDiscussione/DiscussionPausa/BreakPresentazione del n. 3 dellarivista “Cinergie. Il cinema e lealtre arti”/Presentation of theissue no. 3 of the film journal“Cinergie. Il cinema e le altre arti”Presentazione del n. 2 dellarivista “G|A|M|E: The ItalianJournal of Game Studies ”Presentation of the issue no. 2 ofthe film journal “G|A|M|E: TheItalian Journal of Game Studies”Vincenzo De Masi,(Universität Zürich)Media in China: The Creativityof the Chinese Animation inthe Soft Power EraGianni Celata(Università di RomaLa Sapienza)Movie and Web BetweenPiracy and OpportunitiesDiscussione/DiscussionPresiede/Chair:Jane Gaines(Columbia University)Conclusioni e fine dei lavori/Final remarks and end ofworksProiezioni/ScreeningsGoriziaThursday, March 14, 21.00Kinemax Gorizia, piazzaVittoria 41, GoriziaBinding MemoriesMoja Meja(Nadja Velušček, AnjaMedved, 2002, 50’)My Lost Generation(Vladimir Tomič, 2009, 31’)A Letter to Dad(Srd¯an Keča, 2011, 48’)A seguire/FollowingBalkan TourProgramma di cortometraggiprovenienti da/A programmeof short films from Slovenia,Croazia, Serbia, Macedonia,Montenegro, BosniaA cura di/Curated byEurochannelOrganizzato da/Organized byAccademia Europeista delFVG / EurochannelPresentato da/Presented byAleš Doktorǐc,Ludovica FalesUdine/Gorizia,Wednesday, March 13/Thursday, March 14

XI MAGIS Gorizia – International Film Studies Spring School

Gorizia, Friday, March 15Friday, March 15, 9.30-13.00Sala della Torre, FondazioneCassa di Risparmio diGoriziaInterventi di saluto/GreetingsCristiana Compagno,Magnifico Rettoredell’Università degli Studidi UdineFederico Portelli, Assessorealla Cultura, Provincia diGoriziaEttore Romoli, Sindaco delComune di GoriziaRudi Ziberna, Assessore allaCultura, Comune di GoriziaMauro Pascolini, DirettoreCentro Polifunzionale diGoriziaFranco Obizzi, PresidenteFondazione Cassa diRisparmio di GoriziaRoberto Calabretto,Presidente del Corso diLaurea Dams, Universitàdegli Studi di UdinePresentazione/IntroductionLeonardo Quaresima,Università degli Studi diUdinePresentation of the WorkshopsPost-Cinema: Videogame/Animation/ComicsFederico Giordano(Università per stranieri diPerugia), Ludovica Fales(Università degli Studi diUdine), Alberto Brodesco(Università degli Studi diTrento)Cinema & ContemporaryVisual ArtsAlessandro Bordina,Francesco Federici(Università degli Studi diUdine)The Film HeritageAndrea Mariani, SimoneVenturini (Università degliStudi di Udine), Hans-Michael Bock (CineGraph,Hamburg), Jürgen Keiper(Deutsche KinemathekBerlin), Jan Distelmeyer(Fachhochschule Potsdam- EMW, FH / UniversitätPotsdam)Porn Studies: Cartography ofPornographic AudiovisualGiovanna Maina (Universitàdegli Studi di Pisa), EnricoBiasin, Federico Zecca(Università degli Studi diUdine)Pausa/BreakPost-Cinema: Videogame/Animation/ComicsPatricia MacCormack(Anglia Ruskin University)Cinema, Arts, Desire:A Cinesexual Deleuzio-Guattarian ApproachOlivier Asselin(Université de Montréal)The Thrill of the Real: On theUse of Metalepsis in Mixed-Reality Film and GamesFriday, March 15,15.00-18.00WorkshopsCinema & ContemporaryVisual ArtsPolo Santa ChiaraGabriele Jutz(Universität für angewandteKunst Wien)The Sound of TechnologyEnrico Camporesi(Université Paris 3)Le Film ready-made. Pratiqued’appropriation et valeurd’exposition à partir dePerfect Film (1986) de KenJacobsJonathan Thonon(Université de Liège)Le Remake dans l’artcontemporain: écarts et écransSarah Durcan(Birkbeck, University ofLondon)Documentary Fictions:Challenges to Concepts ofOriginality and Authenticityin the Work of Pierre HuygheCoordinato da/Coordinated byGabriele Jutz(Universität für angewandteKunst Wien)Post-Cinema: Videogame/Animation/ComicsPolo Santa ChiaraPhilippe Marion(Université de Louvain),Comics and DesireYael Ben Nun(Università Paris VIII)La Répresentation du corpsdans Gantz: la question dupassage du corps dessiné aucorps de l’acteur dans lesadapatations de l’oeuvreMarc Joly(Université de Montréal)Neoreligious Affect in theAge of Digital Technology:Cinephany and CulturalRapresentationCoordinato da/Coordinated byMarco Benoît Carbone(University CollegeLondon), Carl Therrien(Université de Montréal)Proiezioni/ScreeningsFriday, March 15, 21.00Kinemax Gorizia, piazzaVittoria 41, GoriziaPanzano(Rosa Barba, 2000, 16mm, 22’)They Shine(Rosa Barba, 2007, 35mm, 4’)Outwardly from Earth’sCenter(Rosa Barba, 2007, 16mm,24’)The Long Road(Rosa Barba, 2010, 35mm,6’10’’)The Hidden Conference:About the DiscontinuousHistory of Things We See andDon’t See(Rosa Barba, 2010, 35mm, 11’)Somnium(Rosa Barba, 2011, 16mm, 19’)Time as Perspective(Rosa Barba, 2012, 35mm, 12’)Presentato da/Presented byRosa BarbaDiscussione/DiscussionPresiede/Chair:Leonardo Quaresima(Università degli Studi diUdine)

Saturday, March 16,9.30-13.00Sala della Torre, FondazioneCassa di Risparmio diGoriziaPost-Cinema: Videogame/Animation/ComicsAndrea Mubi Brighenti(Università degli Studi diTrento)Addictive Visibility: SomeThoughts on New MediaUsesCinema & ContemporaryVisual ArtsMaeve Connolly(Dun Laoghaire Institute ofArt, Design and Technology)Cinematic Mind-Games inthe Gallery: Film Theory andArt PracticeSandra Lischi(Università degli Studi diPisa)Films à parcourir:l’installation dansquelques expériencescinématographiques récentes.Discussione/DiscussionPausa/BreakPresiede/Chair:Wanda Strauven(Universiteit vanAmsterdam)Artist TalkRosa BarbaSaturday, March 16,15.00-18.00WorkshopsCinema & ContemporaryVisual ArtsPolo Santa ChiaraMaeve Connolly(Dun Laoghaire Institute ofArt, Design and Technology)The Cinematic BeyondCinemaChris Fite-Wassilak(University of East London)The Performance of theCinematic: The Evocation ofCinema in Live EventsFrancesco Federici(Università degli Studi diUdine)The Space of the Viewer:Notes on Spectatorship in theGalleryCoordinato da/Coordinated byMaeve Connolly(Bauhaus-UniversitätWeimar)Post-Cinema: Videogame/Animation/ComicsPolo Santa ChiaraCarl Therrien(Université de Montréal)From Fear to Empathy. AJourney Through AffectiveEcosystems in Video GamesJoyce Goggin(Universiteit van Amsterdam)Contagion and Gamification:Addiction as an EconomicDriverIvan Girina(University of Warwick)Desire and Fear ofTransformation in JapaneseContemporary PopularCulture: The PostmodernAesthetics of Transfigurationfrom Resident Evil to DevilMay CryGiuseppe de Riso(Università degli Studidi Napoli L’Orientale)Femininity and Male Desire inThird-person VideogamesCoordinato da/Coordinated byMarco Benoît Carbone(University College London),Carl Therrien(Université de Montréal)Proiezioni/ScreeningSaturday, March 16, 21.00Kinemax Gorizia, piazzaVittoria 41, GoriziaTerra animata(Luca Patella, 1967, 6’)SKMP2(Luca Patella, 1968, 30’)Reflex(Mario Schifano, 1964, 16’)Souvenir(Mario Schifano, 1967, 11’)Presentati da/Presented byAnnamaria Licciardello(Centro Sperimentale diCinematografia - CinetecaNazionale)Da Bologna a Stalino.Documentario sul viaggiodel convoglio n°1(Enrico Chierici, 1942,9,5mm, 20’ a 16 f/s)Archivio Nazionale del Filmdi Famiglia, Fondo FratelliChiericiRestaurato nel 2012 da/Restored in 2012 by LaCamera Ottica and CREAMusicato da/Musicated byRenato RinaldiDecadimenti e riemersioni.Il cinema pittorico diGuglielmo Baldassini(Selezione di filmati PathéBaby, 1926-1931 ca., 16mmda 9,5mm, 35’a 24 f/s.)Archivio Nazionale delFilm di Famiglia, FondoGuglielmo BaldassiniRestaurato nel 2012 da/Restored in 2012 by LaCamera Ottica and CREA,Recording and Print16mm,Marco EmilianiMusicato da/Musicated byRoberto Paci DalòOrganizzato da/Organizedby La Camera Ottica - HomeMovies Archivio Nazionaledel Film di FamigliaGorizia, Saturday, March 16Discussione/Discussion

Gorizia, Sunday, March 17Sunday, March 17,9.30-13.00Sala della Torre, FondazioneCassa di Risparmio diGoriziaCinema & ContemporaryVisual Arts/Incontri con ilcinema italianoTavola rotonda su/Round table onPaolo GioliMarco Bertozzi(Università IUAV di Venezia)Evgenia Giannouri(Université Lille 3)Gabriele Jutz(Universität für angewandteKunst Wien)Kim Knowles(Aberystwyth University)Annamaria Licciardello(Centro Sperimentale diCinematografia)Antonio Somaini(Université Paris 3)Wanda Strauven(Universiteit van Amsterdam)Coordinato da/Coordinated byAntonio Somaini(Université Paris 3)Coordinato da/Coordinated byPaolo Vampa(Vampa Productions),Alessandro Bordina(Università degli Studi diUdine)Discussione/DiscussionSunday, March 17,15.00-18.00WorkshopsCinema & ContemporaryVisual ArtsPolo Santa ChiaraAntonio Somaini(Université Paris 3)Politics and Poeticsof Found FootageStefania Schibeci(Università degli Studi diGenova)Le Projet W. de Peter Forgács:physiognomonie raciale,archive, remploiMarco Senaldi(Université Paris 3 / IULM)Repeat Your Concept.Sturtevant’s Remake ofWarhol’s and Duchamp’sFilms ReconsideredMonise Nicodemos(Université Paris 3)Histoire, poésie et remploid’images dans La Rabbia.Post-Cinema: Videogame/Animation/ComicsPolo Santa ChiaraKarin Andersen (Artist)Hybrid Desire: Zoomorphismin Contemporary Art andFilmGiorgio Avezzù(Università Cattolica delSacro Cuore, Milano)Here & There. On the“Cartographic Paradox”in Film and After #1:Contemporary Cinema andthe Rhetoric of TacticMauro Salvador(Università Cattolica delSacro Cuore, Milano)Here & There. On the“Cartographic Paradox” inFilm and After #2: ShooterGames, Between Surface andDepthMiriam De Rosa(Università Cattolica delSacro Cuore, Milano)Here & There. On the“Cartographic Paradox”in Film and After #3:Contemporary Visual Artsand Desire to Be (Here)Coordinato da/Coordinated byAndrea Mubi Brighenti(Università degli Studi diTrento)Proiezioni/ScreeningSunday, March 17, 21.00Kinemax Gorizia, piazzaVittoria 41, GoriziaFilmarilyn(Paolo Gioli, 1992, 16mm,11’12”)Film stenopeico (L’uomosenza macchina da presa)(Paolo Gioli, 1973-1981-1989, 16mm, 13’06”)Volto sorpreso al buio(Paolo Gioli, 1995, 16mm,6’50”)Farfallio(Paolo Gioli, 1993,16mm,7’45”)Sommovimenti(Paolo Gioli, 2009, 16mm,7’45”)Interlinea(Paolo Gioli, 2008, 16mm,5’12”)Il finish delle figure(Paolo Gioli, 2009, 6’ 30”)Quando i corpi si tòccano(Paolo Gioli, 2012, 16mm,3’43”)Presentato da/Presented byAntonio Somaini, PaoloVampa and Paolo GioliA seguire/FollowingScotch Tape(Jack Smith, 1959-1962,16mm, 3’)Respectable Creatures(Jack Smith, 1950s/1966,16mm, 24’)Flaming Creatures(Jack Smith, 1962-63,16mm, 43’)Presentato da/Presented byMarc Siegel(Goethe-UniversitätFrankfurt)Discussione/DiscussionPausa/BreakArtist TalkPaolo GioliCoordinato da/Coordinated byAntonio Somaini(Université Paris 3)

Monday, March 18,9.30-13.00Sala della Torre, FondazioneCassa di Risparmio diGoriziaFreeMonday, March 18,15.00-18.00WorkshopsThe Film Heritage: Filmbetween Access andGovernance/Cinema &Contemporary Visual ArtsPolo Santa ChiaraChristian Gosvig Olesen(Universiteit van Amsterdam)Digitizing an “Aesthetic ofFilm History”: Programmingand Access Policy in EYE’sPanoramaRossella Catanese(Università di RomaLa Sapienza)The Case of BalletMécanique. A RepaintedBallet and Its CopyrightSecretsPorn Studies: Cartography ofPornographic AudiovisualPolo Santa ChiaraClarissa Smith(University of Sunderland)The Breathless Jogger:Legislating “Extreme” P*rn inthe UKFeona Attwood(Middlesex University,London)Never Mind the Bollocks:British Porn OnlineAnna Span(director)Director’s TalkCoordinato da/Coordinated byClarissa Smith(University of Sunderland)Proiezioni/ScreeningsMonday, March 18, 21.00Kinemax Gorizia, piazzaVittoria 41, GoriziaTwo Women and Man(Roe Rosen, 2005, 17’)Confessions Coming Soon(Roe Rosen, 2007, 8’30’’)I Was Called Kuny-Lemel(Roe Rosen, 2007, 4’)Hilarious(Roe Rosen, 2010, 21’)Tse(Roe Rosen, 2010, 34’30’’)Presentato da/Presented byRoe RosenGorizia, Monday, March 18Naomi Rolef(Goethe-UniversitätFrankfurt)The Stuff Israeli Film Is Madeof: A Case StudyBeatriz Tadeo Fuica(University of St Andrews)Past Footage, PresentChallenges: DigitizingUruguayan Film HeritageCoordinato da/Coordinated bySimone Venturini(Università degli Studi diUdine)

Gorizia, Tuesday, March 19Tuesday, March 19,9.30-13.00Sala della Torre, FondazioneCassa di Risparmio diGoriziaPorn Studies: Cartography ofPornographic AudiovisualNeil Lester(Arizona State University)“Fear of a Black Planet”: Race,Sex, and Breeding a Cultureof White Patriarchal Fear inTumblr PornographyKatrien Jacobs(Chinese University, HongKong)Drifting Eyeballs: FemininePornography in Hong Kong,Japan and the USAPeter Rehberg(The University of Texas atAustin)Queer Fanzines asPost-Pornographic UtopiaDiscussione/DiscussionPausa/BreakPresiede/Chair:Gloria-Lauri Lucente(University of Malta)Artist TalkRoe RosenDiscussione/DiscussionTuesday, March 19,15.00-18.00WorkshopsThe Film Heritage: Filmbetween Access andGovernancePolo Santa ChiaraJürgen Keiper(Deutsche Kinematek, Berlin)The Question of an Open CulturePorn Studies: Cartography ofPornographic AudiovisualPolo Santa ChiaraMariana Baltar, NayaraBarreto(Fluminense FederalUniversity, Rio de Janeiro)Inside Sex Diaries: “Putaria”,Identity and OrdinaryAmateur SexLucio De Franciscis dos ReisPiedade(Anhembi MorumbiUniversity, São Paulo)New Trends of the BrazilianPorn in the Late TwentiethCenturyMarco Benoît Carbone(University College London)Porn-orientalism: NaughtyJapan. The Construction ofJapanese Sexuality in OnlinePornographyNaomi Rolef(Goethe-UniversitätFrankfurt)The Porn Star Blogger: Practicesof Self‐Authorship throughBlogging and TwittingCordinato da/Coordinated byKatrien Jacobs (ChineseUniversity, Hong Kong),Neil Lester (Arizona StateUniversity)Proiezioni/ScreeningsTuesday, March 19, 21.00Kinemax Gorizia, piazzaVittoria 41, GoriziaDear Steve(Hermann Asselberghs,2010, 45’)Speech Act(Hermann Asselberghs,2011, 29’)A seguire/FollowingA.M./P.M.(Hermann Asselberghs, 2004,45’45’’)Presentato da/Presented byHermann Asselberghs

Wednesday, March 20,9.30-13.00Sala della Torre, FondazioneCassa di Risparmiodi GoriziaThe Film HeritageJürgen Keiper(Deutsche Kinematek,Berlin)Concepts of CommonsVirginia Crisp(Middlesex University,London)Access and Power:Film Distribution,Disintermediationand Digital PiracyDiscussione/DiscussionPausa/BreakPresiede/Chair:Hans-Michael Bock(CineGraph, Hamburg)Artist TalkHerman AsselberghsDiscussione/DiscussionWednesday, March 20,15.00-18.00WorkshopsThe Film Heritage: Filmbetween Access andGovernancePolo Santa ChiaraVirginia Crisp(Middlesex University,London)Access and Ownership in theDigital World: The Effects ofNew Modes of Distribution onFilm Consumption, Archivingand OwnershipPorn Studies: Cartography ofPornographic AudiovisualPolo Santa ChiaraOliver Carter(Birmingham Centrefor Media and CulturalResearch)Historicising the BritishHardcore Pornography FilmIndustryJohn Mercer(Birmingham Centrefor Media and CulturalResearch)A World of Men: “NationalPornographies” and the UKGay Porn IndustrySharif Mowlabocus(University of Sussex)“It’s About the Life We Hadand the Life That You Don’tHave”: Negotiating BarebackPornography in Gay MaleSub-cultureCoordinato da/Coordinated byJohn Mercer (BirminghamCentre for Media andCultural Research)Wednesday, March 20,15.00-18.00Kinemax Gorizia/Palazzodel cinemaGoriziaIncontri con il cinemaitaliano contemporaneoSeminario con il gruppoFlatformIncontro con proiezioniCoordinato da/Coordinated bySergio Fant, Roy MenariniProiezioni/ScreeningsWednesday, March 20, 21.00Kinemax Gorizia, piazzaVittoria 41, GoriziaCinema italianocontemporaneoIn natura non esistono effettispeciali, solo conseguenze(Flatform, 2007, 2’ 03’’)Intorno allo zero(Flatform, 2007, 3’42’’)Domenica 6 aprile, ore 11:42(Flatform, 2008, 6’ 12’’)57.600 secondi di notte e luceinvisibili(Flatform, 2009, 5’25’’)Non si può nulla contro ilvento(Flatform, 2010, 6’ 20’’)Un luogo a venire(Flatform, 2011, 7’30’’)Movimenti di un tempoimpossibile(Flatform, 2011, 8’ 05’’)Presentato da/Presented byFlatformA seguire/FollowingZimmerFrei, Temporary 8th(Zimmerfrei, 2012, 52’)Presentato da/Presented byZimmerfreiGorizia, Wednesday, March 20

Gorizia, Thursday, March 21Thursday, March 21,9.30-13.00Sala della Torre,Fondazione Cassa diRisparmio di GoriziaThe Film HeritageClaudy Op den Kamp(Plymouth University)Found Footage, LegalProvenance and “Aestheticsof Access”Annabelle Shaw(British Film Institute)Unlocking Films the RightWayDiscussione/DiscussionPausa/BreakCinema & ContemporaryVisual ArtsRinaldo Censi(Università degli Studi diPavia)The Dematerialization ofthe Film Object (Notes andParadoxes)Discussione/DiscussionPresiede/Chair:Jan Diestelmeyer(Fachhochschule Potsdam- EMW, FH / UniversitätPotsdam)Thursday, March 21,15.00-18.00WorkshopsThe Film Heritage: Filmbetween Accessibility andGovernancePolo Santa ChiaraClaudy Op den Kamp(Plymouth University)Recycled Images: FoundFootage FilmmakingPracticesPorn Studies: Cartographyof PornographicAudiovisualPolo Santa ChiaraDuccio Colombo(Università di Palermo)“There Is No Sex Here”:Soviet Prudery and theShifting Borders of DecencyVasyl Cherepanyn(Visual Culture ResearchCenter, Kiev)Ukrainian Body: Art, Porn,PoliticsThursday, March 21,15.00-18.00Kinemax Gorizia/Palazzodel cinemaIncontri con il cinemaitaliano contemporaneoSeminario con il gruppoZimmerfreiIncontro con proiezioniCoordinato da/Coordinated bySergio Fant, Roy MenariniMartina Panelli(Università degli Studi diUdine)Appropriation, restitutionet legibilité des imagesd’archives: un parcours versl’impersonnel à partir del’analyse de l’oeuvre d’HarunFarocki, Gustav Deutsch,Barbara HammerGian Piero Piretto(Università degli Studi diMilano)Armen Oganezov and thePost-Soviet Porn Side ofRussian LiteratureCoordinato da/Coordinated byGian Piero Piretto(Università degli Studi diMilano)

Udine/Gorizia, Screenings

Udine/Gorizia, ScreeningsProiezioni/ScreeningsUdineTuesday, March 12, 21.00Cinema Visionario, viaAsquini 33, UdineThe We and The I(Michel Gondry, 2012, 103’)Wednesday, March 13, 21.00Cinema Visionario, viaAsquini 33, UdineLe proprietà intellettuali/le libertà intellettualiDino Risi: gli esordi ritrovatiVerso la vita(Dino Risi, 1946, 12’)Tigullio minore(Dino Risi, 1947, 9’)La provincia dei sette laghi(Dino Risi, 1948, 10’)La fabbrica del Duomo(Dino Risi, 1949, 10’)1848(Dino Risi, 1949, 11’)Presentati da/Presented bySergio Toffetti(Archivio Nazionale delCinema d’Impresa di Ivrea- Centro Sperimentale diCinematografia)Un’opera non è di un autore eneppure la vita lo è: Carmelo BeneBis(Paolo Brunatto, 1966, 20’)Il canto d’amoredi Alfred Prufrock(Nico D’Alessandria, 1967, 20’)Proiezioni/ScreeningsGoriziaThursday, March 14, 21.00Kinemax Gorizia, piazzaVittoria 41, GoriziaBinding MemoriesMoja Meja(Nadja Velušček, AnjaMedved, 2002, 50’)My Lost Generation(Vladimir Tomič, 2009, 31’)A Letter to Dad(Srd¯an Keča, 2011, 48’)A seguire/FollowingBalkan TourProgramma di cortometraggiprovenienti da/ A programmeof short films from Slovenia,Croazia, Serbia, Macedonia,Montenegro, BosniaA cura di/Curated byEurochannelOrganizzato da/Organizedby Accademia Europeista delFVG / EurochannelPresentato da/Presented byAleš Doktorǐc,Ludovica FalesFriday, March 15, 21.00Kinemax Gorizia, piazzaVittoria 41, GoriziaPanzano(Rosa Barba, 2000, 16 mm,22’)They Shine(Rosa Barba, 2007, 35 mm,4’)Outwardly from Earth’sCenter(Rosa Barba, 2007, 16 mm,24’)The Long Road(Rosa Barba, 2010, 35mm,6’10’’)The Hidden Conference:About the DiscontinuousHistory of Things We See andDon’t See(Rosa Barba, 2010, 35mm,11’)Somnium(Rosa Barba, 2011, 16mm,19’)Time as Perspective(Rosa Barba, 2012, 35mm,12’)Presentato da/Presented byRosa BarbaHermitage(Carmelo Bene, 1967, 26’)Presentati da/Presented byEmiliano Morreale(Centro Sperimentale diCinematografia - CinetecaNazionale)

Saturday, March 16, 21.00Kinemax Gorizia, piazzaVittoria 41, GoriziaTerra animata(Luca Patella, 1967, 6’)SKMP2(Luca Patella, 1968, 30’)Reflex(Mario Schifano, 1964, 16’)Souvenir(Mario Schifano, 1967, 11’)Presentati da/Presented byAnnamaria Licciardello(Centro Sperimentale diCinematografia - CinetecaNazionale)Da Bologna a Stalino.Documentario sul viaggiodel convoglio n°1(Enrico Chierici, 1942,9,5mm, 20’ a 16 f/s)Archivio Nazionale del Filmdi Famiglia, Fondo FratelliChiericiRestaurato nel 2012 da/Restored in 2012 by LaCamera Ottica and CREAMusicato da/Musicated byRenato RinaldiDecadimenti e riemersioni. Ilcinema pittorico di GuglielmoBaldassini(Selezione di filmati PathéBaby, 1926-1931 ca., 16mmda 9,5mm, 35’a 24 f/s.)Archivio Nazionale delFilm di Famiglia, FondoGuglielmo BaldassiniRestaurato nel 2012 da/Restored in 2012 by LaCamera Ottica and CREA,Recording and Print16mm,Marco EmilianiMusicato da/Musicated byRoberto Paci DalòOrganizzato da/Organizedby La Camera Ottica - HomeMovies Archivio Nazionaledel Film di FamigliaSunday, March 17, 21.00Kinemax Gorizia, piazzaVittoria 41, GoriziaFilmarilyn (1992),(Paolo Gioli, 16mm, 11’12”)Film stenopeico (L’uomo senzamacchina da presa)(Paolo Gioli, 1973-1981-1989, 16mm, 13’06”)Volto sorpreso al buio(Paolo Gioli, 1995, 16mm,6’50”)Farfallio(Paolo Gioli, 1993, 16mm,7’45”)Sommovimenti(Paolo Gioli, 2009, 16mm,7’45”)Interlinea(Paolo Gioli, 2008, 16mm,5’12”)Il finish delle figure(Paolo Gioli, 2009, 6’30”)Quando i corpi si tòccano(Paolo Gioli, 2012, 16mm,3’43”)Presentato da/Presented byAntonio Somaini, PaoloVampa and Paolo GioliRespectable Creatures(Jack Smith, 1950s/1966,16mm, 24’)Flaming Creatures(Jack Smith, 1962-63, 16mm,43’)Presentato da/Presented byMarc Siegel(Goethe-UniversitätFrankfurtMonday, March 18, 21.00Kinemax Gorizia, piazzaVittoria 41, GoriziaTwo Women and Man(Roe Rosen, 2005, 17’)Confessions Coming Soon(Roe Rosen, 2007, 8’30’’)I Was Called Kuny-Lemel(Roe Rosen, 2007, 4’)Hilarious(Roe Rosen, 2010, 21’)Tse(Roe Rosen, 2010, 34’30’’)Presentato da/Presented byRoe RosenGorizia, ScreeningsA seguire/FollowingScotch Tape(Jack Smith, 1959-1962,16mm, 3’)

Gorizia, ScreeningsTuesday, March 19, 21.00Kinemax Gorizia, piazzaVittoria 41, GoriziaDear Steve(Hermann Asselberghs,2010, 45’)Speech Act(Hermann Asselberghs,2011, 29’)A seguire/FollowingWednesday, March 20, 21.00Kinemax Gorizia, piazzaVittoria 41, GoriziaCinema italianocontemporaneoIn natura non esistono effettispeciali, solo conseguenze(Flatform, 2007, 2’ 03’’)Intorno allo zero(Flatform, 2007, 3’42’’)A.M./P.M.(Hermann Asselberghs, 2004,45’45’’)Presentato da/Presented byHermann AsselberghsDomenica 6 aprile, ore 11:42(Flatform, 2008, 6’ 12’’)57.600 secondi di notte e luceinvisibili(Flatform, 2009, 5’25’’)Non si può nulla contro ilvento(Flatform, 2010, 6’ 20’’)Un luogo a venire(Flatform, 2011, 7’30’’)Movimenti di un tempoimpossibile(Flatform, 2011, 8’ 05’’)Presentato da/Presented byFlatformA seguire/FollowingZimmerFrei, Temporary 8th(Zimmerfrei, 2012, 52’)Presentato da/Presented byZimmerfrei

FILM FORUM 2013Dipartimento di Storia e Tutela dei Beni CulturaliAssociazione Culturale Maiè, UdineMediateca.GO “Ugo Casiraghi”Mediateca Provinciale di Gorizia - Goriška Pokrajinska MediatekaUniversité Paris 3 – Sorbonne Nouvelle, UFR CinémaCineGraph, HamburgCineFest, HamburgFachochschule PostdamUniversität PotsdamGRAFICS, Groupe de recherche sur l’avènement et la formationdes institutions cinématographique et scénique, Université de MontréalACE – Association des Cinémathèques EuropéennesDottorato Internazionale in Studi Audiovisivi: Cinema, Musica, ComunicazioneLaurea Magistrale Internazionale in Discipline del Cinema/Film and Audiovisual StudiesCorso di Laurea DAMS, GoriziaCorso di Laurea in Relazioni Pubbliche, GoriziaCentro Polifunzionale di GoriziaArea Relazioni EsterneCentro Rapporti InternazionaliIP – Erasmus Intensive Programme - Contemporary Audiovisual Geographies 3From Intellectual Property to Grassroots PartecipationACE – Association des Cinémathèques EuropéennesDipartimento di Musica e Spettacolo, Università di BolognaDipartimento di Scienze della Comunicazione e dello Spettacolo,Università Cattolica del Sacro Cuore, MilanoDipartimento di Storia delle Arti e Conservazione dei Beni Artistici “G. Mazzariol”,Università Ca’ Foscari, VeneziaMACRO (Media Art Centre of Research and Observatory)Centro Studi di Ricerche sulla Sceneggiatura, “Sergio Amidei”, GoriziaCinemantica, Laboratorio Cinema e Multimedia, UdineLa Camera Ottica, Film and Video Restoration, GoriziaCrea, Centro Ricerca Elaborazione Audiovisivi, GoriziaAssociazione Home Movies – Archivio Nazionale del Film di Famiglia / ÖsterreichischesFilmmuseum, Wien / Cineteca del Comune di Bologna / Centro Sperimentale diCinematografia – Cineteca Nazionale / Archivio Nazionale del Cinema d’Impresa, Ivrea- Centro Sperimentale di Cinematografia / Laboratorio “L’immagine ritrovata”, Bologna/ La Cineteca del Friuli, Gemona / CEC, Centro Espressioni Cinematografiche, Udine /Transmedia, Gorizia / Premio “Sergio Amidei”, Gorizia / Kinoatelje, Gorizia / Le Giornatedel Cinema Muto, Pordenone / Cinemazero, PordenoneIn collaborazione con le riviste:“CINÉMA & Cie”, “Cinergie. Il cinema e le altre arti”, G|A|M|EIn collaborazione con:E con il sostegno al Premio Limina di:Media partner:Con il sostegno di:Comune di UdineProvincia di UdineComune di GoriziaProvincia di Goriziahttp://www.filmforumfestival.it/