IMT Institutional Repository: No conditions. Results ordered -Date Deposited. 2024-03-29T06:53:01ZEPrintshttp://eprints.imtlucca.it/images/logowhite.pnghttp://eprints.imtlucca.it/2018-02-15T10:52:15Z2018-02-15T10:52:15Zhttp://eprints.imtlucca.it/id/eprint/3904This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/39042018-02-15T10:52:15Z"Il nastro dei sogni"? Il diritto (pubblico) del cinema e dell'audiovisivoThe article examines the new Italian regulation of cinema and audio-visual designed by Act No. 220/2016. The first part illustrates the main features of the new system, which has been implemented by over 20 decrees adopted during the last 12 months. Changes are numerous and regard several issues, such as financial resources, tax incentives, extraordinary measures, and the institutional asset. The second part focuses on the three legislative decrees adopted in December 2017, which completed the reform process. These decrees have significantly innovated the field of protection of minors, jobs regulation, and promotion of European and Italian audio-visual works. The reform, therefore, draws an ambitious design, which can offer an important contribution to the development of a dedicated field of study and research, the public law of cinema and audio-visual.Lorenzo Casinilorenzo.casini@imtlucca.it2017-11-24T07:49:52Z2017-11-24T07:49:52Zhttp://eprints.imtlucca.it/id/eprint/3832This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/38322017-11-24T07:49:52ZLa gestualità del dolore rituale tra parole e immaginiThis paper deals with mourning gestures in Roman literary and iconographic productions. Both literature and iconography are thought to be the product of a shared cultural background but, at the same time, they show differences in the way each of them expresses this background: the literary form is dynamic, while the iconographic form seems to be static. Hence, ritual mourning scenes are analyzed either in literature (where some vivid details allow the reader to visualize what is being said through words) or in iconography (where an aoristic image stands for a durative narration). In particular, the analysis focuses on a selection of literary sources that contain vivid descriptions of ritual mourning scenes and date back to a period between the I century BC and the II century AD. They are compared to the conclamatio scenes that are portrayed on some groups of Urban sarcophagi, i.e. children sarcophagi and some mythological ones (depicting the death of Patroclus, Meleager, or Alcestis), all of which date back to the middle Imperial Age. Thus, this paper aims at decoding mourning gestures as well as drawing attention to the similarities and differences that can be detected between the literary horizon and the iconographic one in regard to this particular theme.Elisa Bernardelisa.bernard@imtlucca.it2017-11-23T12:55:34Z2017-11-24T08:52:09Zhttp://eprints.imtlucca.it/id/eprint/3831This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/38312017-11-23T12:55:34ZLa Casa di Giulietta di Antonio Avena. Quando l’architettura diventa coup de théȃtreAntonio Avena’s House of Juliet. When architecture becomes a coup de théâtre.
This paper will discuss the “restoration” of the so-called House of Juliet in Verona, which was influenced by Antonio Avena and was finally conducted between November 1939 and April 1941. The data from topographical, archaeological and archival sources, together with the historical guide books and postcards, reveal that, up until the 20th century, the location of Juliet’s House was understood to be the casa torre facing via Cappello. After a long series of proposed restoration projects dating back to the early 20th century, the restoration conducted by A. Avena created Juliet’s House as we know it today in the building facing the inner courtyard. Through the study of the archival sources, old photographs and the archaeological analysis of the facies of the building, it is possible to acquire an idea of how the restoration was made and the underlying ideas of the project. The restoration consisted in a combination of recycled fragments, “antiqua spolia”, and architectonical elements emulating ancient ones, in order to create an evocative pastiche. It was meant to recreate a medieval atmosphere and to create a backdrop to the Shakespearian drama.Elisa Bernardelisa.bernard@imtlucca.it2017-09-26T08:08:54Z2017-09-26T08:08:54Zhttp://eprints.imtlucca.it/id/eprint/3803This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/38032017-09-26T08:08:54ZTowards an Economy of the Body. Fourteenth International Domitor Conference "Viscera, Skin, and Physical Form:
Corporeality and Early Cinema", Stockholm, Sweden 14-17 June 2016.This paper focuses on two main cases: Étienne-Jules Marey (1830-1904) and the Gilbreths (Frank B. Gilbreth, 1868-1924 and Lillian M. Gilbreth, 1878-1972), and their respective studies of movement.
More specifically, it investigates Marey’s experiments with fix plate chronophotography (1883-1886) focused on human locomotion, and Frank and Lillian Gilbreth’s work on the cyclograph (as expounded in "Fatigue Study" and "Applied Motion Study").
Firstly, the paper analyzes the three different procedural protocols of these experiments in order to identify their similarities and differences and to understand what, if any, experimental model they give rise to. It scrutinizes in particular: a) the position of the scientist’s body in the experimental field and its role in theory (the training of the observer’s/scientist’s body); b) the preparation of the body of the subjects to be analyzed (before the experiments) and the way these bodies were posed in the experimental field (during the experiments); c) the status of the camera’s mechanical body.
Secondly and finally, the paper aims to show how all these regulatory norms serve and enable a certain economy of the body in two interconnected senses: a) economy as a form of reduction. The paper analyzes different ways the body inside the experimental field is isolated/deleted depending on whether it is the scientist’s body, the subject’s body under analysis or the body of the camera; b) economy as a system of efficiency. Beginning from M. Mauss’s notion of “techniques du corps” as a general theoretical framework as well as specific examples of disciplining effects on individuals, this paper seeks to outline the historical role played by the abovementioned studies of the body in developing efficiency (and its relationship with work) as an object of knowledge.Linda Bertellilinda.bertelli@imtlucca.it2017-07-14T12:52:48Z2017-09-26T09:14:30Zhttp://eprints.imtlucca.it/id/eprint/3718This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/37182017-07-14T12:52:48ZBody Without Senses: The Scientific Management by Frank B. and Lillian GilbrethThis paper focuses on a single case-study: the early photofilmic works by Frank (1868-1924) and Lillian (1878-1972) Gilbreth that were aimed at the study of workers’ motion in view of their measurement and standardization.
More specifically, the paper investigates Gilbreths’ work on the cyclograph, as expounded in Fatigue Study (1916) and Applied Motion Study (1917).
Firstly, it analyzes the procedural protocols of these experiments in order to understand what, if any, experimental model they give rise to. It scrutinizes in particular: a) the role of the camera’s mechanical body (multiple references to the camera as device with mechanical senses will be studied), b) the position of the scientist’s body in the experimental field and its role in the costruction of the theory (the training of the observer’s/scientist’s senses), c) the preparation of the body of the subjects to be analyzed (before the experiments) and the way his/her senses were taken into account in the experimental field (during the experiments). .Secondly and consequently, the paper aims to show how all these regulatory norms serve and enable a specific economy of the body in two interconnected senses: a) economy as a form of reduction. The paper analyzes different ways the body inside the experimental field is isolated/deleted depending on whether it is the scientist’s body, the subject’s body under analysis or the body of the camera. It will lead to a first meaning of absence of senses, that is linked to an automatization of them. b) economy as a system of efficiency. Beginning from Marcel Mauss’s notion of “techniques du corps” as a general theoretical framework as well as specific examples of disciplining effects on individuals, this paper seeks to outline the historical role played by the abovementioned studies of the body in developing a specific concept of efficiency and its relationship with work. It will lead to a second meaning of absence of senses, that it is intertwined to the first and linked to the relationships between the processes of depersonalization and the processes of the spectacle.
Finally, some comparisons with other earlier experimental protocols (especially with the works by Étienne-Jules Marey and Eadweard Muybridge) and an analysis of the circulation that the pictures by the Gilbreths had in the popular media will be briefly traced.Linda Bertellilinda.bertelli@imtlucca.it2016-11-28T16:31:33Z2017-09-26T08:08:44Zhttp://eprints.imtlucca.it/id/eprint/3602This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/36022016-11-28T16:31:33ZOsservazioni sull’inconscio otticoThis essay is based on an analysis of the notion of “Optical Unconscious” by Walter Benjamin.
It seeks to present an interpretation of this notion in connection with the historical relationship between the birth of cinematic technology on the one hand and research conducted during the same period in the field of physiology investigating human and animal movement on the other hand.
To this end the essay analyzes the following three concepts: (a) alienation, (b) automatism and (c) invisibility.
(a) In "Minutiae, Close-up, Microanalysis", Carlo Ginzburg formulates an analogy to describe the “optical unconscious” and juxtaposes it with a page from Marcel Proust in which the alien gaze of the narrator parallels the imperturbable lens of a camera and he experiences the physiognomy of the objects in their anonymous being.
Through reference to this passage, I seek to prove that the meaning of the photographic image does not reside in its ability to reflect its object as something real and familiar, but rather in its ability to alienate this object and make it foreign to the observer.
(b) This paper will link this impersonality of the subject to the concept of automatism and analyze this link through William K.L. Dickson’s "Kinetoscopic Record of a Sneeze" (1894) as an example of the many images of the time that depicted an involuntary movement on the part of the represented subject, namely an action or series of actions beyond the subject’s control.
I assert that this idea of displaying the ordinariness of an involuntary action constitutes a specificity that both photographic and cinematographic technology are based on.
(c) The comprehensive meaning of the represented subject therefore depends on the device, otherwise it would have been doomed to invisibility. In order to clarify what kind of invisibility is at stake here, my study takes a step back to examine the historical origins of the photo-cinematographic tools used in experimental physiology and the role that representation came to have (the idea of the autonomy of the representation).
Finally, in order to clarify these hypotheses, this essay analyzes the case of the French physiologist Étienne-Jules Marey.
By studying physiological theories on motion at the end of XIX Century, the article seeks to bring the relationship between photography and cinema back to its historical origins and highlight moments of intersection.Linda Bertellilinda.bertelli@imtlucca.it2016-04-19T08:05:08Z2017-09-26T09:15:12Zhttp://eprints.imtlucca.it/id/eprint/3383This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/33832016-04-19T08:05:08ZImages, Invisibility, and Motion: Brief Essay on Chronophotography, Cinema, and Optical UnconsciousThis paper is based on an analysis of the notion of “Optical Unconscious” by Walter Benjamin.
It seeks to present an interpretation of this notion in connection with the historical relationship between the birth of cinematic technology on the one hand and, and research conducted during the same period in the field of physiology investigating human and animal movement on the other hand.
To this end I will analyze the following three concepts: (a) alienation, (b) automatism and (c) invisibility.
(a) In Minutiae, Close-up, Microanalysis, Carlo Ginzburg formulates an analogy to describe the “optical unconscious” and juxtaposes it with a page from Marcel Proust in which the alien gaze of the narrator parallels the imperturbable lens of a camera and he experiences the physiognomy of the objects in their anonymous being.
Through reference to this passage, I seek to prove that the meaning of the photographic image does not reside in its ability to reflect its object as something real and familiar, but rather in its ability to alienate this object and make it foreign to the observer.
(b) This paper will link this impersonality of the subject to the concept of automatism and analyze this link through William K.L. Dickson’s Kinetoscopic Record of a Sneeze (1894) as an example of the many images of the time that depicted an involuntary movement on the part of the represented subject, namely an action or series of actions beyond the subject’s control.
I assert that this idea of displaying the ordinariness of an involuntary action constitutes a specificity that both photographic and cinematographic technology are based on.
(c) The comprehensive meaning of the represented subject therefore depends on the device, otherwise it would have been doomed to invisibility. In order to clarify what kind of invisibility is at stake here, my study will take a step back to examine the historical origins of the photo-cinematographic tools used in experimental physiology and the role that representation came to have (the idea of the autonomy of the representation).
Finally, in order to clarify these hypotheses, I shall analyze the case of the French physiologist Étienne-Jules Marey.
By studying physiological theories on motion at the end of XIX Century, this paper will bring the relationship between photography and cinema back to its historical origins and highlight moments of intersection.Linda Bertellilinda.bertelli@imtlucca.it2016-03-21T08:42:57Z2017-09-26T09:15:52Zhttp://eprints.imtlucca.it/id/eprint/3242This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/32422016-03-21T08:42:57ZTowards an Economy of the BodyThis paper focuses on three main cases: Étienne-Jules Marey (1830-1904), Georges Demeny (1850-1917) and the Gilbreths (Frank B. Gilbreth, 1868-1924 and Lillian M. Gilbreth, 1878-1972), and their respective studies of movement.
More specifically, it investigates Marey’s and Demeny’s experiments with fix plate chronophotography (1883-1886) focused on human locomotion, Demeny’s research with chronophotography on sensitive strip and celluloid film studying gymnastics (1888-1892), and Frank and Lillian Gilbreth’s work on the cyclograph (as expounded in Fatigue Study and Applied Motion Study).
Firstly, the paper analyzes the three different procedural protocols of these experiments in order to identify their similarities and differences and to understand what, if any, experimental model they give rise to. It scrutinizes in particular: a) the position of the scientist’s body in the experimental field and its role in theory (the training of the observer’s/scientist’s body); b) the preparation of the body of the subjects to be analyzed (before the experiments) and the way these bodies were posed in the experimental field (during the experiments); c) the status of the camera’s mechanical body.
Secondly and finally, the paper aims to show how all these regulatory norms serve and enable a certain economy of the body in two interconnected senses: a) economy as a form of reduction. The paper analyzes different ways the body inside the experimental field is isolated/deleted depending on whether it is the scientist’s body, the subject’s body under analysis or the body of the camera; b) economy as a system of efficiency. Beginning from M. Mauss’s notion of “techniques du corps” as a general theoretical framework as well as specific examples of disciplining effects on individuals (See Phéline, Christian. L'image accusatrice. Laplume, France: Association de critique contemporaine en photographie, 1985), this paper seeks to outline the historical role played by the abovementioned studies of the body in developing efficiency (and its relationship with work) as an object of knowledge.Linda Bertellilinda.bertelli@imtlucca.it2015-10-07T08:23:21Z2015-10-07T08:23:21Zhttp://eprints.imtlucca.it/id/eprint/2760This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/27602015-10-07T08:23:21ZDemens Luctus. Donna disperata in movimento: metodi e interpretazioniBased on the considerations suggested by L. Rebaudo and C. Franzoni, the author provides new reflections on the gesture of the moving desperate woman.Maria Luisa Catonimarialuisa.catoni@imtlucca.it2015-06-23T14:29:13Z2017-07-18T09:51:06Zhttp://eprints.imtlucca.it/id/eprint/2714This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/27142015-06-23T14:29:13ZOpera in a Global World: Internationalization Practices in the Beijing National Centre for the Performing ArtsSilvia GiordanoYesim Tonga Uriarteyesim.tonga@imtlucca.it2015-06-23T13:55:35Z2017-07-18T09:46:48Zhttp://eprints.imtlucca.it/id/eprint/2711This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/27112015-06-23T13:55:35ZDeveloping sustainable cultural policies in Turkey: an investigation of public opinion on the theatre sceneThe arts scene in Turkey has been witnessing many discussions with the revealing of the governmental reform agenda on the state support model for the arts that includes establishment of an arts council type institution, the closure of the State Theatres and, the State Opera and Ballet. Nevertheless, despite strong public criticism on this reform agenda, there has never been any comprehensive research to reflect the public opinion. Therefore, this study aims to contribute to recent discussions by providing data on public opinion regarding such a fundamental change, with a particular focus on theatre. Towards this end, a survey was conducted in Istanbul. The findings demonstrate that the majority, including both users and non-users of theatre, value the State Theatres and are in favour of sustaining it. There is also a common belief that in case of the State Theatres’ closure, the private theatres cannot undertake its public mission.Yesim Tonga Uriarteyesim.tonga@imtlucca.it2015-06-23T13:47:37Z2017-07-18T09:52:11Zhttp://eprints.imtlucca.it/id/eprint/2710This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/27102015-06-23T13:47:37ZThe State Theatres in Turkey: Analyses on Valuation and the Management ModelEven though accessibility of culture, preservation and promotion of arts are treated mainly as the responsibility of the State in Turkey, the government’s approach was influenced by the global neoliberal currents and eventually directed towards a market-oriented approach, moving the position of the State from ‘the initiator’ towards ‘the regulator’ side over the last decades. Within this context, the State Theatres and the Istanbul City Municipal Theatre (ICMT), which are among the deep-rooted, oldest public arts institutions, have recently become the target of some regulatory changes in the government's agenda. The regulation changes in ICMT comprising the transfer of the management from actors to municipality officers, including such duties as the selection of plays, casting actors, and hiring technical staff, were put in action on 12 April 2012. Concurrently, the Prime Minister Recep Tayyip Erdogan’s statement in favor of privatization of the State Theatres received reactions from the public. The main argument of the public opposition was that the freedom of state-supported art would be heavily damaged with the enactment of the new regulations. State support, it was maintained, is of crucial importance for arts production in a developing country such as Turkey.
Therefore, this paper aims to contribute those debates with the examination of efficacy of the State Theatres in Turkey. Besides, valuation of the State Theatres by the public will be discussed through the results of a public opinion survey on a test group. Following the analysis, recommendations for development of a more suitable management model for state-supported theatres in Turkey will be provided.Yesim Tonga Uriarteyesim.tonga@imtlucca.it2015-04-09T10:41:39Z2015-04-09T10:41:39Zhttp://eprints.imtlucca.it/id/eprint/2659This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/26592015-04-09T10:41:39ZThe Cinematographical Illusion: Mechanism, Movement and Memory in Henri Bergson's CinematographAlthough this paper also aims to take into account Gilles Deleuze’s study of the Bergsonian “mechanistic illusion” and “cinematographical mechanism of thought” - notions that Henri Bergson advanced in Creative Evolution (1907) – its core lies focus rather in using Bergson’s philosophy (and the theory of memory in particular) to analyze the origin of these phrases and the ways they are used as well as the implications they give rise to.
First, the paper will seek to show that, in order to define the concept of reality regarding which the cinematographical mechanism involves the mechanic illusion, it is necessary to interpret the passages of Creative Evolution under analysis as a description of cinema in terms of technological apparatus.
Drawing on several recent studies devoted to Bergson’s conception of cinema (M. Tortajada) as well as now-classic analyses devoted to the history of the devices of perception developed between the nineteenth and twentieth century (J. Crary), the paper will thus focus on exploring the context in which Bergson’s cinematographical apparatus intervenes, including this apparatus in the history of the optical devices that were used to both analyze and represent human and animal movements (particular attention will be paid to the connection with Étienne-Jules Marey’s chronophotography).
Second, through the analysis of selections from both Creative Evolution and other of Bergson’s works, this paper aims to identify the steps through which, according to Bergson, the “cinematographical mechanism” becomes an operation model to describe thought.
Finally, this paper will seek to analyze the connection between Bergson’s critique of the cinematographical mechanism of thought and his theory about motion and memory.
In the final part of the presentation I will therefore address a different meaning of cinematographic images which, however, emerges from Bergson’s pages; what appears on the screen when Bergson briefly describes his experience as a movie goer (see M. Georges-Michel, En jardinant avec Bergson) is a series of images of a past that manifests in the present without any mediation, and therefore it presents itself as a series of pure images of memory.Linda Bertellilinda.bertelli@imtlucca.it2015-02-25T08:11:42Z2015-02-25T08:11:42Zhttp://eprints.imtlucca.it/id/eprint/2623This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/26232015-02-25T08:11:42ZÉtienne-Jules Marey: Iconographic Migration and the Independence of the ImageFirstly, this paper seeks to trace the trajectory of certain specific practices of iconographic migration in the work of French physiologist Étienne-Jules Marey. In particular, it analyzes the graphic treatment applied to chronophotographic images to prepare them for inclusion in Marey’s texts.
This process of graphicalizing photographic images so they could be included in printed texts, which was necessary as, at that time, it represented the only means of reproducing photographic images together with text, was an obligatory step that also granted the image increased readability and meaning: through this process of reformulation, the image gained independence and a life of its own separate from the corporeality of the subject being represented, and it was this separation that endowed the image with its character of objectivity.
The paper will thus analyze the foundations of this independence of the image, examining what kind of event these images represented and, concurrently, what statute of vision these images contributed to establishing. To this end, the paper seeks to locate the techniques used to produce these images within a history of practices of educating, training and disciplining the eye of the observer. It will thus focus on the nexus where techniques of the observer and practices of objectivity intersect: efforts to force the drawing hand to mimic the precision of a millimeter-scaled grid or to induce the eye to observe the movements of a wing in flight were aimed at both producing an image that would be tantamount to objective proof of the hypothesis in question and, at the same time, training the observer as a specific kind of the scientific Self [See L. Daston and P. Galison, Objectivity, New York: Zone Books, 2007, p. 38].
Lastly, this paper seeks to show how this process of transforming the photographic image into an illustration, a direct legacy of the graphic method, is wholly analogous to the process used in the same period to construct iconographic categories and traditions in both the field of scientific anthropology, clinical neurology and criminal typing, as well as the sphere of publishing and popular illustrations. The paper will thus discuss the relationship between the pathways and modes characterizing the image’s movement across multiple media and the construction of the idea of “type”.
Linda Bertellilinda.bertelli@imtlucca.it2014-12-18T10:24:10Z2014-12-18T10:24:10Zhttp://eprints.imtlucca.it/id/eprint/2419This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/24192014-12-18T10:24:10ZUn viaggio in Abruzzo di Adolfo e Lionello VenturiBoth Adolfo Venturi and his son Lionello made a great use of sketchbooks during their travels in Italy, Europe and America, in order to record artworks preserved in the museums and private collections that they visited. A series of 15 sketchbooks of the same dimension and form is splitted between the Venturi archives in Rome and Pisa. Even if many papers are missing, the 15 sketchbooks record a long travel made together by Adolfo and Lionello, from Italy to Europe (Germany, France), probably written around 1904-1905. The handwriting of Adolfo and Lionello is recognizable in all the units: some of them are written by Adolfo, some others by Lionello and some others by both father and son. Two of them are dedicated to Abruzzo, one preserved in Pisa and one in Rome, in origin probably belonging to the same unit, before being dismembered. This article discusses the Venturi's travel to Abruzzo, its possible datation, and publishes the whole part preserved in Rome, completely dedicated to Tagliacozzo and written by Lionello Venturi alone. Thus, it would be possible to add new material to check the differences and similarities in artwork descriptions between the young Lionello and his father Adolfo, so to say the old and the new generation of art historians.Emanuele Pellegriniemanuele.pellegrini@imtlucca.it2014-10-28T16:00:22Z2014-10-29T08:00:56Zhttp://eprints.imtlucca.it/id/eprint/2333This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/23332014-10-28T16:00:22ZDo you remember Milena and Merlinka? Gender Imagery from the Yugoslav Supra Nationalism to the Super Nationalisms and War in the NinetiesIn the past decade wartime gender imagery manipulations in former Yugoslavia have figured prominently in scholarly research. Numerous authors have focused on the issue without however transcending deeply rooted disciplinary boundaries. This paper proposes an interdisciplinary film journey through Dušan Makavejev’s “WR: The Mysteries of the Organism” (1971) and Želimir Žilnik’s “Marble Ass” (1995) as a critique of the dominant views of the linkage between imagery and the violent post-Yugoslav nationalistic practices. Both films openly question the persistence of the rigid definitions of male and female roles in society, within their respective, socialist and nationalistic, realities. Makavejev, through a satiric representation of Wilhelm Reich’s controversial theories, criticizes the institutionalized and dogmatic character of socialist Yugoslavia, while Žilnik depicts the paradoxical implications of the “Balkan pacification” process, once war and nationalism become the raison d’être of a country. The institutionalized praxis of socio-cultural reproduction of inequality, in conjunction with the emergence of new, aggressive nationalistic projects, reinforced the misrepresentations of gender imagery. Men were increasingly depicted as the “heroes”, the courageous warriors protecting the nation, while women were primarily there to reproduce the nation symbolically and biologically. Reproductive processes became part of reproductive ideologies, which later shaped nationalistic discourse and state propaganda. The nation became the fundamental actor, passing from the supposed supra nationalism, embodied in Yugoslavia’s “brotherhood and unity”, to a super veneration of the nation and the purity of the ethnos.Mateja Sincicmateja.sincic@imtlucca.it2014-01-21T08:13:37Z2014-12-02T09:50:55Zhttp://eprints.imtlucca.it/id/eprint/2104This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/21042014-01-21T08:13:37ZIl simposio grecoMaria Luisa Catonimarialuisa.catoni@imtlucca.it2014-01-20T15:47:47Z2014-01-20T15:47:47Zhttp://eprints.imtlucca.it/id/eprint/2103This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/21032014-01-20T15:47:47ZThe production of evidence: early scientific cinema in Italy
As Lorraine Daston and Peter Galison (among others) argue, the middle of the nineteenth century saw an important shift in which the image began to function as proof of scientific objectivity and as a medium that replaces (or seeks to replace) the form of representation reflecting the will of the creator with a mechanical reproduction of reality (Daston, Lorraine and Peter Galison. Objectivity. New York: Zone Books, 2007).
Scholars agree that scientific photography and, a few years later, scientific cinema (which evolved from the photographic study of bodily movements) constitute the two primary and parallel technological tools employed in the pursuit of this objectivity; they served to shape, or even construct, the statute of “evidence” as we have defined and currently define it and the relationship of such evidence with the practice of experimentation and, thereby, its “production” (along with all that follows in terms of notions of authenticity, belief and doubt).
This proposal seeks to analyze, within this theoretical framework I have so briefly synthesized, two exemplary cases that are crucial to reconstructing the history of scientific cinema in Italy: the collaboration between Filoteo Alberini (1867-1937), Cines director and founder, and Osvaldo Polimanti (1869-1947), the future director of the Institute of Physiology at Perugia University as well as the currently better-known collaboration between Roberto Omegna (1876-1948), pioneer of the documentary film genre, and Camillo Negro (1861-1927), the Turin-based neurologist.
I will pursue a historical reconstruction of these collaborations: in the Polimanti/Alberini case, I will specifically analyze their 1905 research that used the cinematographic method to look at the motorial effects provoked by cerebral lesions, while for the Negro/Omegna case particular attention will be granted to analyzing La Neuropatologia, the 1908 film produced through their collaboration. This reconstruction will be aimed at examining the tensions – visible in the images themselves – between these filmic creations and the emergent idea of mechanical objectivity that at any rate constitutes the jumping off point for these creations, as explicitly expressed in the authors’ intentions. Linda Bertellilinda.bertelli@imtlucca.it2014-01-20T15:41:35Z2014-01-20T15:41:35Zhttp://eprints.imtlucca.it/id/eprint/2102This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/21022014-01-20T15:41:35ZBenjamin’s optical unconscious: the motion in photography as the interstice of cinematic timeThis paper focuses on the concept of optical unconscious as it emerges in Walter Benjamin’s "A Small History of Photography and The Work of Art in the Age of Mechanical Reproduction". In particular, I intend to analyze the origins of the Benjamin’s concept from the László
Moholy-Nagy’s work "Painting Photography Film". According to Benjamin, just like cinematographic stills, photography makes explicit the part of movement that is not present in movement and renders it visible; it adds the ruffling, the tiny details, the half-hidden movement to the moment and thus makes visible the space-time fragment – as Benjamin
writes - «when a person steps out» (A Small History of Photography). Following the premise represented by the optical unconscious notion, the first argument I seek to make isthat a new organization of the perceptible world appeared not in the 1920s and 30s but rather can be
found thoroughly intertwined with the very historical origins of the photo-cinematographic tools, which originate from and are functional to a new conception of objectivity (and, hence, of naturalism and realism) that emerged from the birth of biology as an experimental science
and therefore from the birth of the concept of life and a new conception of the body. As a matter of fact, I argue that biology’s ascendancy over natural history through a process that traces its documentable origins to the end of the eighteenth century, constituted the context that enabled and fostered the invention of photo-cinematographic techniques. Through some examples from the works of Ètienne-Jules Marey and Thomas Alva Edison, I therefore
propose a second hypothesis, closely linked to the first: to begin with, cinema and, even earlier, photography, were created precisely in an interstice produced by the short-circuit between an invisible referent and forms of representation. Moreover, this short-circuit is
nowhere as apparent as it is in the debate surrounding the depiction of movement that began in the second half of the nineteenth century, a debate that developed specifically in the field of physiology but went on to involve the fields of art as well.Linda Bertellilinda.bertelli@imtlucca.it2013-09-16T08:12:56Z2014-12-02T09:55:29Zhttp://eprints.imtlucca.it/id/eprint/1692This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/16922013-09-16T08:12:56ZTre figure. Achille, Meleagro, CristoPer una serie di circostanze imprevedibili le immagini di Achille, Meleagro e Cristo, usate e riusate per secoli, s'intrecciarono, sovrapponendosi. Che cosa spiega la loro ibridazione, la loro persistenza, la loro migrazione attraverso il tempo e lo spazio? Quanto contarono, nella fortuna di queste figure, le formule compositive originarie e quanto il contesto che di volta in volta le fece proprie? Questo libro cerca di rispondere a queste domande. Chi legge entra in un cantiere dove hanno lavorato, separati da secoli o millenni, scultori e pittori, storici e storici dell'arte. Luca Giuliani analizza la genesi e il precoce riuso nell'antichità romana dell'iconografia di Achille in lutto presso il cadavere di Patroclo; Maria Luisa Catoni, la possibile genesi e il riuso in età post-antica di una formula della disperazione di fronte alla morte; Salvatore Settis, la fortuna rinascimentale di uno schema iconografico antico usato per rappresentare il corpo esanime di Cristo; Carlo Ginzburg, la genesi della nozione di Pathosformel (formula di pathos) coniata da Aby Warburg. Maria Luisa Catonimarialuisa.catoni@imtlucca.itCarlo GinzburgLuca GiulianiSalvatore Settis2013-03-19T15:20:14Z2014-12-02T09:48:25Zhttp://eprints.imtlucca.it/id/eprint/1520This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/15202013-03-19T15:20:14ZFrom motion to emotion. An ancient Greek iconography between literal and symbolic interpretations. Maria Luisa Catonimarialuisa.catoni@imtlucca.it2012-07-02T13:40:26Z2013-04-16T14:20:56Zhttp://eprints.imtlucca.it/id/eprint/1301This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/13012012-07-02T13:40:26ZVisual Encounters: Africa, Oceania and Modern ArtSilvia Loretisilvia.loreti@imtlucca.it2012-07-02T13:11:34Z2013-04-16T14:20:56Zhttp://eprints.imtlucca.it/id/eprint/1297This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/12972012-07-02T13:11:34ZEnigmes et peintures métaphysiques. L'invention d'une rhétoriqueIssues des souvenirs personnels de l'artiste, les énigmes architecturales de Chirico sont aussi le fruit d'une tradition classique, d'une mémoire collective. Hantés par la figure d'Ariane, rythmés par le leitmotiv des arcades, ces paysages forment un espace métaphysique, précis et onirique à la fois, où les statues et les ombres ont pris la place des vivants. Progressivement, ces paysages se referment pour devenir des intérieurs dans lesquels les objets changent de fonction et de sens.Silvia Loretisilvia.loreti@imtlucca.it2012-06-28T13:36:24Z2013-04-16T14:20:56Zhttp://eprints.imtlucca.it/id/eprint/1289This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/12892012-06-28T13:36:24ZModern Narcissus: the lingering reflections of myth in modern artWhy has myth continued to fascinate modern artists, and why the myth of Narcissus, with its modern association with narcissism? This article considers the relationship between the Narcissus myth and the lineage of modern art that runs from Symbolism to surrealism through the polymorphous prism of the Greco-Roman Pantheon to which Narcissus belongs. The article offers an interpretation of the role of mythology in modern art that moves beyond psychoanalysis to incorporate the longer span of the art-historical tradition. Addressing issues of aesthetics, gender and sexuality, the following account highlights Narcissus‟s double nature as an erotic myth that comprises both identity formation and intersubjectivity, as enacted in the field of representation. The myths associated with Narcissus in the history of Western art will help us reconsider his role as a powerful figure capable to activate that slippage between word and image, identity and sociability, representation and reality which was celebrated by the Symbolists and formed the centre of the surrealists‟ social-aesthetic project.Silvia Loretisilvia.loreti@imtlucca.it2012-06-28T13:18:56Z2013-04-16T14:20:56Zhttp://eprints.imtlucca.it/id/eprint/1288This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/12882012-06-28T13:18:56ZA timely call: modern representation awakened by antiquity. De Chirico, Picasso and the classical visionSilvia Loretisilvia.loreti@imtlucca.it2011-10-24T14:39:23Z2011-10-24T14:39:23Zhttp://eprints.imtlucca.it/id/eprint/970This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/9702011-10-24T14:39:23ZImmagine sull’immagine: la lettura delle opere d’arte tra cinema e ciberneticaEmanuele Pellegriniemanuele.pellegrini@imtlucca.it2011-10-18T13:08:59Z2011-10-18T13:08:59Zhttp://eprints.imtlucca.it/id/eprint/959This item is in the repository with the URL: http://eprints.imtlucca.it/id/eprint/9592011-10-18T13:08:59ZGli occhi del Sismondi: le arti figurative nelle Repubbliche italiane del MedioevoEmanuele Pellegriniemanuele.pellegrini@imtlucca.it