VIII MAGIS – International Film Studies Spring School ... - niponfilm
VIII MAGIS – International Film Studies Spring School ... - niponfilm
VIII MAGIS – International Film Studies Spring School ... - niponfilm
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<strong>VIII</strong> <strong>MAGIS</strong> <strong>–</strong> <strong>International</strong> <strong>Film</strong> <strong>Studies</strong> <strong>Spring</strong> <strong>School</strong><br />
Cinema and Contemporary Visual Arts/5<br />
Audiovisual Geographies Cinema and Visual Across Performance, Installation, Architecture and<br />
Public Spaces<br />
Cinema/Comics/Animation<br />
<strong>Film</strong>ing the Game/Playing the <strong>Film</strong><br />
Porn <strong>Studies</strong>: Economies, Politics, Discoursivities of Contemporary Pornographic Audiovisual<br />
The <strong>Film</strong> Heritage: The Birth of an Heritage<br />
March 19-24, 2010<br />
Gorizia<br />
DAMS Cinema, Palazzo del Cinema, piazza Vittoria 41<br />
Fondazione Cassa di Risparmio di Gorizia, via Carducci 2
Friday, March 19, 9.30-13.00<br />
Greetings<br />
Leonardo Quaresima, Presidente del Corso di Laurea DAMS, Università di Udine<br />
Introduction<br />
Lucy Bullivant (Architectural Curator and Critic)<br />
Softspace: the Emergence of Interactive Architecture<br />
Discussion<br />
Break<br />
The <strong>Film</strong> Heritage: The Birth of an Heritage<br />
Hans-Michael Bock (CineGraph, Hamburg), Jürgen Keiper (Deutsche Kinemathek, Berlin),<br />
Jan Distelmeyer (Universität Potsdam)<br />
<strong>Film</strong> Heritage I. An Introduction<br />
Vinzenz Hediger (Ruhr-Universität Bochum)<br />
An Offer we could not refuse: <strong>Film</strong> Heritage and the Concept of Inheritance<br />
Paolo Caneppele (Österreichisches <strong>Film</strong>museum)<br />
Archival Policies in the Early <strong>Film</strong> Archives: 1895-1920. Notes about an Unborn Canon.<br />
Friday, March 19, 15.00-18.00<br />
Porn <strong>Studies</strong>: Economies, Politics, Discoursivities of Contemporary Pornographic Audiovisual<br />
Enrico Biasin, Federico Zecca (Università di Udine)<br />
Introduction<br />
Mario Perniola (Università di Roma Tor Vergata), Sarah Maclaren<br />
The Political Meaning of the Pornografic Turn<br />
Discussion<br />
Cinema and Contemporary Visual Arts<br />
Alison Butler (University of Reading)<br />
Gallery <strong>Film</strong> and Site-Specificity<br />
Discussion<br />
Break<br />
Cinema/Comics/Animation<br />
Philippe Marion (Université Catholique de Louvain)<br />
Introduction<br />
Jan Baetens (Université Catholique de Louvain)<br />
Stephane Tralongo
Cultiver le secret ou encourager la divulgation? Les discours de vulgarisation des trucs du<br />
cinématographe dans la presse parisienne<br />
Discussion
Saturday, March 20, 9.30-13.00<br />
Cinema and Contemporary Visual Arts<br />
Philippe Dubois (Université Paris III Sorbonne Nouvelle)<br />
Cinema/Comics/Animation<br />
Dick Tomasovic (Université de Liège)<br />
Discussion<br />
Break<br />
The <strong>Film</strong> Heritage: The Birth of an Heritage<br />
Rainer Rother (Deutsche Kinemathek, Berlin)<br />
Porn <strong>Studies</strong>: Economies, Politics, Discoursivities of Contemporary Pornographic Audiovisual<br />
Peter Lehman (Arizona State University)<br />
How Do You Simulate a Caress? The Difference between Hard-core and Soft-core Porn, and Why<br />
It Matters<br />
Discussion<br />
Saturday, March 20, 15.00-18.00<br />
Workshops<br />
Cinema and Contemporary Visual Arts<br />
Il cinema ricostituito. I discorsi sul film nell’era della postmedialità<br />
Coordinated by Francesco Casetti<br />
Francesco Casetti (Università Cattolica del Sacro Cuore, Milano)<br />
Introduction<br />
Cristina Tosatto (Università Cattolica del Sacro Cuore, Milano)<br />
Percorsi immediati. Spazio e tempo nella Bourne Trilogy<br />
Marzia Morteo (Università Cattolica del Sacro Cuore, Milano)<br />
Augmented reality e iPhone applications: narrazione, mobile devices e spazio urbano<br />
Elisabetta Locatelli, Sara Sampietro (Università Cattolica del Sacro Cuore, Milano)<br />
Testi filmici diffusi. Processi di discorsivizzazione del testo filmico on-line<br />
Mauro Buzzi (Università Cattolica del Sacro Cuore, Milano)<br />
Datamatics [ver.2.0]. Ryoji Ikeda e l’immersione visiva e sonora dello spettatore nella realtà<br />
astratta del codice<br />
Miriam De Rosa (Università Cattolica del Sacro Cuore, Milano)<br />
David Rockwell’s Hall of Fragments. Looking for <strong>Film</strong>’s Genius as a Medium Through Audiovisual<br />
Geographies
<strong>Film</strong>ing the Game/Playing the <strong>Film</strong><br />
Bernard Perron (Université de Montréal), Dominque Arsenault<br />
La Question du genre dans le jeu vidéo: entre typologie et performance<br />
Espen Aarseth<br />
Riccardo Fassone (Università di Torino)<br />
There’s an Alien in My PS3!<br />
The <strong>Film</strong> Heritage: The Birth of an Heritage<br />
Coordinated by Hans-Michael Bock, Jürgen Keiper, Jan Distelmeyer<br />
Jan Distelmeyer (Universität Potsdam)<br />
The Order of Selection: Avaibility and Digital Media/Part 1<br />
Discussant: Robert Fischer (Criterion), Rainer Rother (Deutsche Kinemathek, Berlin)<br />
Porn <strong>Studies</strong>: Economies, Politics, Discoursivities of Contemporary Pornographic Audiovisual<br />
Enrico Menduni (Università di Roma Tre)<br />
Second Life: A Posthuman Visual Sexuality<br />
Marcello Monaldi (Università di Trieste)<br />
Spectatorial Pleasures in the Web Porno<br />
John Mercer (Birmingham City University)<br />
Gay for Pay: The Internet and the Economics of Homosexual Desire<br />
Sanna Härmä (University of Turku)
Sunday, March 21, 9.30-13.00<br />
Cinema/Comics/Animation<br />
Animism, Virtualism, Digitalism<br />
Coordinated by Wanda Strauven<br />
Edwin Carels (Ghent University)<br />
Ken Jacobs: Reanimating Tom Tom<br />
Alla Gadassik (Northwestern University Chicago)<br />
The Live-Action Animator: Pierre Hebért’s Animation in the Digital Circuit<br />
Joana Pimenta (Universidade Nova de Lisboa)<br />
A Cinematic Path Through the Virtual World. Exploring the Ouvroir, Chris Marker’s Museum on<br />
Second Life<br />
Wanda Strauven (Universiteit van Amsterdam)<br />
On the Graphic Mode of Cinema: From Marey to MoCap<br />
Discussion<br />
Break<br />
Artist/Curator talk<br />
Cinema and Contemporary Visual Arts<br />
Barbara Le Maître (Université Paris III Sorbonne Nouvelle)<br />
Pierre Perrault ou l’écomusée filmique<br />
Discussion<br />
Sunday, March 21, 15.00-18.00<br />
Workshops<br />
Cinema and Contemporary Visual Arts<br />
MASTER IPPCVA (Ideation, Presentation, Preservation of Contemporary Visual Arts) Presentation<br />
Alessandro Bordina (Università di Udine)<br />
Introduction<br />
Senta Siewert (Ruhr-Universität Bochum)<br />
The Restoration and Reproduction of Media Art Installations in the Rhein/Ruhr Area<br />
Rossella Catanese (Università La Sapienza, Roma)<br />
The Recreated Space. Digital Restoration and Video Medium<br />
<strong>Film</strong>ing the Game/Playing the <strong>Film</strong><br />
Cinema/Comics/Animation
Michael Liebe (DIGAREC-Digital Games Research Center of the University of Potsdam)<br />
Andrea Fornasiero (Università Cattolica del Sacro Cuore, Milano)<br />
Open Games, Closed Intellectual Properties. Forms of Censorship (and Lack of) in Neverwinter<br />
Nights and in Its Community<br />
Dennis Mathei (Ruhr-Universität Bochum)<br />
Couleur locale in Game Soundtracks<br />
Pierre Chemartin (Université de Montréal), Philippe Marion (Université Catholique de Louvain)<br />
La Poétique du gag dans les arts graphiques II : l’humor au fondement des séries culturelles<br />
The <strong>Film</strong> Heritage: The Birth of an Heritage<br />
Coordinated by Hans-Michael Bock, Jürgen Keiper, Jan Distelmeyer<br />
Marcello Seregni (Università di Udine), Giulia Barini (Università di Udine)<br />
Building Materials: <strong>Film</strong> Formats and the Building of the <strong>Film</strong> Heritage<br />
Jan Distelmeyer (Universität Potsdam)<br />
The Order of Selection: Availability and Digital Media/Part 2<br />
Discussant: Robert Fischer (Criterion), Rainer Rother (Deutsche Kinemathek, Berlin)<br />
Porn <strong>Studies</strong>: Economies, Politics, Discoursivities of Contemporary Pornographic Audiovisual<br />
Brian McNair (University of Strathclyde Glasgow)<br />
Pornography in the Multiplex<br />
Sara Martin (Università di Udine)<br />
Barbara Laborde (Université Paris III Sorbonne Nouvelle)<br />
Desire of Fiction and Sexual Desire: the Reception of Michael Winterbottom’s <strong>Film</strong> 9 Songs
Monday, March 22, 9.30-13.00<br />
Cinema/Comics/Animation<br />
Ann Miller<br />
Artist/Curator Talk<br />
Discussion<br />
Break<br />
Porn <strong>Studies</strong>: Economies, Politics, Discoursivities of Contemporary Pornographic Audiovisual<br />
Feona Atwood (Sheffield Hallam University)<br />
Sex, Technology and the Real<br />
Discussion<br />
Monday, March 22, 15.00-18.00<br />
Workshops<br />
Cinema and Contemporary Visual Arts<br />
Stefano Jacoviello (Università di Siena)<br />
In memory of me. Time, space and witness in Peter Greenaway’s “Leonardo’s Last Supper”<br />
Raquel Schefer (Université Paris III Sorbonne Nouvelle)<br />
Space, Time and Archive in Eija-Liisa Ahtila’s Installation Where is Where? (2008)<br />
Jorge Flores Velasco (Université Paris III Sorbonne Nouvelle)<br />
Sound in Tridimensional Spaces. Op-era (2001-2005), by Daniela Kutschat and Rejane Cantoni<br />
Cinema/Comics/Animation<br />
Bernard Perron (Université de Montréal)<br />
Les Traits et tracés des zombies bédéique<br />
Pierre Chemartin (Université de Montréal), Julie Delporte<br />
Quand la bande dessinée fait peau neuve : l’avènement de la critique bédéphilique à l’heure du<br />
grand renouveau de la bande dessinée franco-belge<br />
Sandro Faes<br />
Le Retour du BD-reportage dans la presse périodique<br />
The <strong>Film</strong> Heritage: The Birth of an Heritage<br />
Coordinated by Hans-Michael Bock, Jürgen Keiper, Jan Distelmeyer<br />
Silvia Casagrande (Università di Udine/Université Paris III Sorbonne Nouvelle), Paolo Caneppele<br />
(Österreichisches <strong>Film</strong>museum)
Le Regard perdu. Images et imaginaire d’un voyeur<br />
Jürgen Keiper (Deutsche Kinemathek, Berlin), Elaine Burrows<br />
Building the Heritage/Building the Future: <strong>Film</strong> Archives Histories and Policies/1<br />
Porn <strong>Studies</strong>: Economies, Politics, Discoursivities of Contemporary Pornographic Audiovisual<br />
Peppino Ortoleva (Università di Torino)<br />
Laurent Jullier (Université Nancy II/Paris III Sorbonne Nouvelle)<br />
Prohibited but not Censored: The Politics of Ratings in the Régie du Cinéma (Québec)<br />
Evangelos Tziallas (Concordia University Montreal)<br />
XTube and “Tagging”: Surveillance, Amateur Sex and the Archive<br />
Alberto Brodesco (Università di Udine)<br />
Naked Moments. Telephone Interactions Between Soft-core Stars and Television Spectators
Tuesday, March 23, 9.30-13.00<br />
The <strong>Film</strong> Heritage: The Birth of an Heritage<br />
Vincente Sánchez-Biosca (Universidad de Valencia)<br />
Images d’archive et canon de la mémoire. Usages actuels de la guerre d’Espagne<br />
Artist/Curator Talk<br />
Discussion<br />
Break<br />
Contemporary and Visual Arts<br />
David Lieberman (University of Toronto)<br />
The SPACE between NOTES<br />
Discussion<br />
Tuesday, March 23, 15.00-18.00<br />
Workshops<br />
Cinema and Contemporary Visual Arts<br />
Marcos Pablo Centeno Martín (Universidad de Valencia)<br />
Views Of Modern And Postmodern Tokyo: Dehumanization, Urban, Social And Body Changes<br />
Martina Caruso (Milano <strong>Film</strong> Festival)<br />
Movi(e)ng Cities<br />
Claudio Musso<br />
Techno-Graffiti. From the Permanence of Spray to the Evanescence of Light<br />
Cinema/Comics/Animation<br />
Federico Pagello (Università di Bologna)<br />
Policing the City: Watchmen and the Urban Imagery of Superhero Comics<br />
Caroline Renouard (Université Paris Est-Marne La Vallée)<br />
Incrustation et hybridation, quand le cinéma numérique adapte picturalement la bande dessinée<br />
Melanie Letschnig (Universität Wien)<br />
Welcome to the Dollhouse: On the Attempt to Read Jerry Lewis’ The Ladies Man as Comic<br />
The <strong>Film</strong> Heritage: The Birth of an Heritage<br />
Coordinated by Hans-Michael Bock, Jürgen Keiper, Jan Distelmeyer<br />
Jürgen Keiper (Deutsche Kinemathek, Berlin), Elaine Burrows<br />
Building the Heritage/Building the Future: <strong>Film</strong> Archives Histories and Policies/2
Porn <strong>Studies</strong>: Economies, Politics, Discoursivities of Contemporary Pornographic Audiovisual<br />
Giacomo Manzoli (Università di Bologna)<br />
Rocco & Elio, Italian Pop Icons in a Disconcerting Buddy Movie<br />
Stephen Maddison (University of East London)<br />
Pornographic Mythologies and the Limits of Pleasure: Max Hardcore and Extreme Porn<br />
Manuel Billi (Università di Pisa)<br />
The Affirmative Porn NarrActions. Les Enjeux identitaries et politiques du “corps imposé”, de Taxi<br />
zum Klo à Otto<br />
Nieves Moreno, Laura Montero (Universidad Autónoma de Madrid)<br />
Perverse Imaginary in Japanese Pornographic Anime
Wednesday, March 24, 9.30-13.00<br />
<strong>Film</strong>ing the Game/Playing the <strong>Film</strong><br />
Mario Gerosa (Politecnico di Milano)<br />
The Liquid World of Videogames. Acquatic Scenarios as Immaterial Architectures<br />
Artist/Curator Talk<br />
Discussion<br />
Break<br />
The <strong>Film</strong> Heritage: The Birth of an Heritage<br />
Simona Monizza (Nederlands <strong>Film</strong>museum), Gert Hoogeveen (Stedelijk Museum)<br />
The Re-installation of the Media Artwork Project I-‘90 by Visual Artist Peter Struycken<br />
Discussion<br />
Wednesday, March 24, 15.00-18.00<br />
Workshops<br />
Cinema and Contemporary Visual Arts<br />
Valentina Re (Università Ca’ Foscari, Venezia)<br />
Alexander Zons (University of Konstanz)<br />
Projecting the Title<br />
Laurence Moinereau (Université de Poitiers)<br />
Espaces hybrides dans les génériques animés contemporains<br />
Cinema/Comics/Animation<br />
Pierre Chemartin (Université de Montréal), Dominique Noujeim<br />
Les Pratiques de l’animation et les institutions cinématographiques. Histoire croisée du film<br />
d’animation et du dessin animé<br />
Lucie Merijeau (Université Paris III Sorbonne Nouvelle)<br />
Quelles modifications la 3D relief apporte-t-elle au cinéma d’animation? Le cas de Coraline<br />
d’Henry Selick<br />
Dominik Schrey (Karlsruhe Institute of Technology-KIT-Institute for Literature)<br />
Sampling <strong>Film</strong> History: Database Aesthetics and the “Animation” of the Archive<br />
The <strong>Film</strong> Heritage: The Birth of an Heritage<br />
Coordinated by Hans-Michael Bock, Jürgen Keiper, Jan Distelmeyer<br />
Discussion on the current topic
Porn <strong>Studies</strong>: Economies, Politics, Discoursivities of Contemporary Pornographic Audiovisual<br />
Pietro Bianchi (Università di Udine), Matteo Bonazzi, Francesco Cappa, Daniele Tonazzo<br />
(Università di Milano Bicocca)<br />
POP PORN. L’immaginario contemporaneo del porno<br />
Andrea Bellavita (Università di Trento)<br />
Re-formatted porn: la discorsivizzazione dell’immaginario pornografico nei format della new<br />
television<br />
Clarissa Smith (University of Sunderland)<br />
The properties of pornographic performance
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