Udine/Gorizia
12-21 marzo
XX Udine International Film Studies Conference
Who’s What? Intellectual Property in the Digital Era
Udine, 12-14 marzo 2013/March 12-14, 2013
Palazzo Antonini, via Petracco 8
Palazzo Caiselli, vicolo Florio 2
Visionario, via Asquini 33
XI MAGIS Gorizia International Film Studies Spring School
Gorizia, 15-21 marzo 2013/March 15-21, 2013
Palazzo del Cinema/Hiša filma, piazza Vittoria 41
Fondazione Cassa di Risparmio Gorizia, via Carducci 2
Polo Santa Chiara, via Santa Chiara 1
Cinema & Contemporary
Visual Arts:
Alessandro Bordina,
Francesco Federici
(Università degli Studi di
Udine)
Post-cinema: Videogame/
Animation/Comics:
Alberto Brodesco (Università
degli Studi di Trento),
Federico Giordano
(Università per Stranieri di
Perugia), Ludovica Fales
(Università degli Studi di
Udine), Pierre Chemartin,
Philippe Marion (GRAFICS,
Université de Montréal)
Porn Studies: Cartography of
Pornographic Audiovisual:
Enrico Biasin, Federico
Zecca (Università degli Studi
di Udine), Giovanna Maina
(Università degli Studi di Pisa)
The Film Heritage:
Andrea Mariani, Simone
Venturini (Università degli
Studi di Udine), HansMichael Bock (CineGraph,
Hamburg), Jan Distelmeyer
(Fachhochschule Potsdam
– EMW, FH + Universität
Potsdam)
Cinema italiano contemporaneo:
Roy Menarini (Università
degli Studi di Udine)
Proiezioni/Screenings:
Sergio Fant, Roy Menarini,
Andrea Mariani (Università
degli Studi di Udine)
Premio Limina:
Sara Martin, Roy Menarini,
Mariapia Comand (Università
degli Studi di Udine),
Valentina Re (Università
Ca’ Foscari, Venezia)
Coordinamento
organizzativo/Organisation
coordinators:
Sara Martin, Federico Zecca
Organizzazione/Organisation:
Antonella Corsale,
Sonia
De Marchi (ARES – Area
relazioni esterne – Università
degli Studi di Udine),
Maurizio Pisani, Loris Nardin,
Daniela Fabrici (Dipartimento
di Storia e Tutela dei Beni
Culturali – Università degli
Studi di Udine), Alberto
Beltrame, Anna Bertolli,
Enrico Biasin, Alessandro
Bordina, Cristina Cristofoli,
Aleš Doktorǐc, Vincenzo
Estremo, Ludovica Fales,
Francesco Federici, Giacomo
Ferigioni, Giuseppe Fidotta,
Federico Giordano, Andrea
Mariani, Martina Panelli,
Mirco Santi
Ufficio stampa/Press:
Volpe & Sain Comunicazione
Sito internet/Website:
OnLab
Direzione tecnica/
Technical direction:
Gianandrea Sasso (CREA,
Centro Ricerca Elaborazione
Audiovisivi - Gorizia
-
Università degli Studi
di Udine), Marco Comar
(CINEMANTICA, Università
degli Studi di Udine), Mirco
Santi (La Camera Ottica,
Film and Video Restoration,
Gorizia -
Università degli
Studi di Udine)
Assistenza tecnica/
Technical assistance:
CLAV (Università degli Studi
di Udine),
Transmedia Spa
Disegni e progetto grafico/
Graphics:
Stefano Ricci
Impaginazione/Layout:
Marco De Anna (ARES
– Area relazioni esterne,
Università degli Studi di
Udine)
Traduzione testi di/
Translate text by:
Roberto Braga, Guido Scorza;
Ludovica Fales (Università
degli Studi di Udine)
Indice/Contents
Testo/Text:
Who’s What?
Intellectual
Property in the Digital Era
Testo/Text:
What If Internet Were Not
the Devil Itself?
Guido Scorza
Testo/Text:
In Defense of Digital Piracy
Roberto Braga
XX Udine International
Film Studies Conference/
Programme
March, 12-14
XI MAGIS Gorizia
International Film Studies
Spring School
Programme
March, 15-21
Proiezioni/Screenings
Udine/Gorizia
March, 12-21
Colophon/Contents
Coordinamento scientifico/
Scientific coordinator:
Leonardo Quaresima
Comitato scientifico/
Scientific committee:
Mariapia Comand, Roy
Menarini, Francesco Pitassio,
Cosetta Saba, Simone
Venturini (Università degli
Studi di Udine)
Coordinamento artistico/
Artistic coordinator:
Sergio Fant
Progetto/Project:
Who’s What?
Intellectual
Property in the Digital Era:
Alessandro Bordina, Sara
Martin, Roy Menarini,
Francesco Pitassio,
Leonardo Quaresima,
Simone Venturini, Federico
Zecca (Università degli Studi
di Udine), Roberto Braga
(Università di Bologna)
In collaborazione con/
In collaboration with:
ACE –Association des
Cinémathèques Européennes
Who’s What? Intellectual Property in the Digital Era
Udine, March 12-14
XX Udine International Film Studies Conference
The recent transformations in media landscape, determined by the digital revolution and the birth
of Web 2.0, have brought the issue of intellectual property to the attention of jurists, consumers
and, in a much wider sense, stakeholders.
Due to the unprecedented proliferation of media platforms, the circulation of audio-visual
products has become increasingly difficult to control, consequently undermining the usual
strategies of copyright protection and ownership preservation. Besides, as a matter of fact, the
emergence of a new digital “sharing culture” – sustained by peer-to-peer communities, social
networks and the contemporary “gift economy” – has determined a radical change in the general
perception of intellectual property itself. Within this networked society, the nature of intellectual
property has become more and more ambiguous, paving the way to the rise of renewed forms
of users creativity, partially grounded on the grassroots re-appropriation and re-distribution of
pre-existing (licensed) materials (as in the case of the so-called fan fiction, for instance). As a
consequence, the question of intellectual property in the digital era is at the very centre of the
public 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 between
early cinema practices and contemporary developments –, the XX Udine International Film
Studies Conference would like to suggest the following research perspectives:
The original and the copy. The digital “existence” of audio-visual products has brought into
question 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 appears
to 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 digital
environment in which audio-visual products circulate? Or are they just remnants of out-dated social
and legal practices? A historical overview of the copyright institution can help us to understand its
basis and reasons, without taking for granted its existence as a sort of “natural right”.
and imitation during film history and within different national contexts? From American Biograph
trademark engraved on D.W. Griffith’s movies scenography to the Hollywood studios’ legal
departments, 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 creative
contribution, in which historical and geographical contexts, and in which proportion? From
the role of screenwriters during the 1910s to the property rights of stills photographers, creative
contribution 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 the
Hollywood studio system model, which alienates the actor from his or her own image, to the
complex issues raised by the contemporary motion capture technology, the relations between
individuals and their bodily appearance needs to be properly investigated.
Property and the archive. Film archives traditionally have complicated relations with the
copyright owners of the images they preserve. These relations are connected to different
conceptions of the social function and of the artistic value pertaining to the moving images
intellectual property. A comparative survey of legal frameworks and of film preservation policies
allows us to understand the features and the historical development of the different film cultures.
Gorizia, March 15-21
XI MAGIS – International Film Studies Spring School
The XI MAGIS International Film Studies Spring School, organized by the University of
Udine in collaboration with its network of partners – the Universities of Amsterdam, BirkbeckUniversity 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 de
Montréal, Associazione Culturale Maiè – will be articulated in the following four sections:
Cinema & Contemporary Visual Art: Media Arts and Intellectual Property Rights. This section
will focus on the relationships between the intellectual property rights and contemporary
Who’s What? Intellectual Property in the Digital Era
Plagiarism and imitation. In which ways film narratives and styles have been preserved from plagiarism
Who’s What? Intellectual Property in the Digital Era
artistic practices. As matter of fact, on the one hand, the limits imposed by intellectual property
rights affect distribution, access, dissemination policies as well as production and exhibition
practices of audiovisual contemporary artworks. On the other hand, since the beginning of the
20th century a deconstructive disposition toward the concepts of authoriality, originality and
authenticity could be found in the contemporary artistic practice. From the 1990s, the advent of
digital technologies in art production emphasized these tendencies which tend to increase the
complexity of the relations between art production, reception and ownership.
The Film Heritage: Film between Accessibility and Governance. The section is organized by University
of Udine - La Camera Ottica Film and Video Restoration, CineGraph Hamburg, Fachhochschule
Potsdam - 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 consumption
of movies. In particular, the section will focus on the historical and contemporary ways of providing
and getting access to film, with an eye to the manifold interdependences between film, culture and
politics. 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 the
contemporary mediascape, new media as well as old ones (videogames, animation, digital
cinema, comics etc.) are increasingly invested with a “libidinization process” and have become
the 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 by
trying to answer the following questions: What kind of desire is generated by these new (and
renewed) media and by their (new) forms of expression? What is the function of desire in a
technological, gamificated, software-addicted medial society? How is the body engaged by the
dynamics of desire within such a context?
Cartography of Pornographic Audiovisual: Eurasian Pornography. This section aims at mapping
the distinguishing features of national pornographies and the glocalization processes through
which particular national pornographic practices are translated into transnational forms. In
particular, this year the section is dedicated to the analysis of the development and the specific
characters of Eurasian pornographies, with a particular focus on the following issues: eurasian
pornographic industries and economies; eurasian pornographic genres and styles; eurasian
legislative systems and censorship; eurasian “auteurs”, commercial/mainstream producers and
stardoms; modes of consumption, intellectual property and piracy within Eurasian audiences.
Texts
Text/Guido Scorza
What if Internet Were Not the Devil Itself?
Precisely in 1982, Jack Valenti, at the time president of the Motion Picture Association of
America (MPAA), declared before the Congress of the United States of America that VCR – a
technology which was relentlessly spreading in American homes – would become for the film
industry 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 as
though its popularity was directly proportional to the disappearance of a healthy and flourishing
industry.
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 prosperous
market sector like home video, revealing the power of home theatre to the audience and leading
the way to a different experience. This very experience later proved to be useful and valuable
with 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 by
global film industry originates from the same conviction that considered VCR as a potential
disaster for film industry.
Today film industry looks at internet as the devil itself, considering it as the most dangerous
rival’. Internet is looked at as the worst enemy and it’s necessary therefore to fight it with
Machiavelli-like devices, the end being always justified by the means used. It doesn’t matter to
the international film industry whether the way towards the release of the film from network’s
terror will lead us to compromising the relationship between those who make cinema and those
who enjoy the cinema. It doesn’t matter if along the way it will be necessary to establish an
alliance with those same governments and those powers which are opposing the free flow of
ideas.
For most representatives of the industry a film on the web is just a lost film. Users will gobble up
its 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 relentlessly
anti-economic enterprise.
No experience will help people heading film world to look for a different approach. Certainly
not the experience connected with video recorder nor that other very enlightening experience
lived by the colleagues of music industry a few years ahead of their time.
The whole thing looks hopeless, at least up to now.
result is that films land on the Net through legal channels too late and almost without any
promotional effort.
According to film industry, this phenomenon ought to be governed by increasing regulations
designed to restrict copyright laws, which at the time are already very strict. All this in order
to offer the owners of these rights more effective tools to be used against whoever facilitates or
receives films online.
The whole thing looks like a scene taken from the famous movie “cops and thieves” with film
industry 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 the
other, not even stopping him, which is quite obvious considering how technologies and digital
contents 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 which
rightly demands users to comply with the rules of intellectual property, which are too often
violated.
Downloading or watching a movie in streaming without paying and without the copyright’s
owner permission is prohibited and it is wrong – besides the fact that it is illegal – in the same
way 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 is
wrong and surprisingly difficult to change.
The reasons behind such a strong judgement are many. It is difficult to sum them up since they
are 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 every
time a content is made available online in a country within a certain timeframe, the global
network 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 feel
pushed to find it on parallel and often illegal markets.
The same happens with the time windows system. This system makes films available for a
certain timeframe through specific channels (i.e. cinemas) making it unavailable online. In this
case, the promotion aimed at cinema audience will create frustrating expectations for those who
would 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 illicit
channels.
Text/Guido Scorza
The online circulation of movie contents is considered an enemy almost by definition. The
Text/Guido Scorza
This kind of mistake on the part of film industry may be effectively portrayed by an image quite
familiar to western fans. It is quite clear that online audience, faced by existing commercial and
legal 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 spatial
boundaries. Digital audience is used to considering any content existing in cyberspace as
accessible at any time.
Therefore it would be logical for film industry to take advantage of this desire or need to find
contents online. Something that already took place as in the musical world – and this by offering
access 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 old
question of piracy. It would also be wrong to think that the reduction of the time windows and
the 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 not
to recognize it. It would still be difficult to explain a ‘digital native’ what is the value of an
intangible 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 to
rebuild a trustworthy relationship between film industry and its audience. At the moment this
relationship is weak as audience sees the industry as a rich and greedy antagonist towards which
even 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 widespread
audiovisual content’s distribution in human history.
Guido Scorza
Online piracy is an elusive phenomenon, difficult to analyse since it changes so suddenly and
unpredictably. So-called pirates are gathering around well-known platforms and then are
migrating to other file-sharing systems, following unexpected routes and suggesting new ways
of making content available by opening new forms of participation. This tendency is confirmed
by the recent shut-down of illegal services like Megaupload or Library.nu, heralded as a great
victory of cultural industries on peer-to-peer. In fact, it turned out to be just a superficial kick
to piracy. Piracy changed skin again and was able to shape up other more resilient and less
monitored practises.
The enforcement of copyright and intellectual property, which is manifested by restrictive laws
like Hadopi in France or the AGCOM motions in Italy – not to mention the much-discussed
SOPA and PIPA bills – not only is often ineffective, but keeps widening the gap between piracy
and legislation. All this leaving aside the social and economic effects of these measures. For
example, 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 to
the 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 physical
media, which are more difficult to share but less traceable.
The natural mutability and adaptability of piracy practises left operators of the cultural
industries 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 with
the changing structure of the media sector. The backwardness of some positions is even more
evident 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 assumptions
not being supported by any analytical and methodological framework.
On the other side, a growing number of independent studies has shown a positive effect of filesharing on cultural consumption. The degree of “substitution”, meaning the lost products’ sales
caused by piracy, is difficult to determine and quite controversial. There is certainly no one to
one relationship between file-sharing practices and drop in consumption.
In the absence of a comprehensive analysis of homogeneous samples, however, the image of
the “pirate” seems to be different from the character which has been created by the cultural
industries. The file-sharers community show a tendency to legal consumption that is much
stronger than other users of the Network. This is one element is opening up new business
possibilities for the cultural industries. The so-called sampling effect, that is to say the possibility
Text/Roberto Braga
In Defense of Digital Piracy
Text/Roberto Braga
offered by piracy to audiences to free testing a product before buying it – could introduce new
customers to new contents. Piracy works like Ryanair: once you get used to flying (low-cost) you
are 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 promotional
costs by activating grassroots promotion, why are pirates hated so strongly?
The problem lies in the cultural industries patterns – and not only theirs – still treating piracy
as a revenue-killer. Piracy acts as innovation booster, it is a kind of smart drug able to renew
distribution practises, marketing actions and business models. However, such changes require
a reorganisation of entire production sectors in order not to show themselves through business
models which have not yet been tested enough. This process will open up new problems. If it
is true that piracy can create demand for complementary products, we still need to understand
what 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 deal
with 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-sharers
in public for all purposes, and then make them measurable and attractive to third parties? How
to protect intellectual property without prejudicing the rights of users, fair use presumption of
innocence? How to enhance the practice of file-sharers, meaning an active part in determining
the success of a cultural product?
No single answer to all this exists today but we know for sure that piracy continues to be the
main competitor of the cultural industries.
Roberto Braga
XX Udine International Film Studies Conference
Interventi di saluto/
Greetings
Cristiana Compagno,
Magnifico Rettore
dell’Università degli Studi
di Udine
Elio De Anna, Assessore
regionale alla Cultura, Sport,
Relazioni Internazionali e
Comunitarie
Furio Honsell, Sindaco del
Comune di Udine
Luigi Reitani, Assessore al
Turismo e alla Cultura del
Comune di Udine
Elena Lizzi, Assessore alla
Cultura della Provincia di
Udine
Neil Harris, Direttore del
Dipartimento di Storia e
Tutela dei Beni Culturali
Presentazione/Introduction
Leonardo Quaresima
(Università degli Studi di
Udine)
Jane Gaines
(Columbia University)
Historical Paradoxes of the
Original Copy
Peter Decherney
(University of Pennsylvania)
Hollywood and the Public
Domain
Discussione/Discussion
Pausa/Break
André Gaudreault
(Université de Montréal)
Le Relatif anonymat de
l‘enregistreur d’opéras à l‘ère
de l‘agora-télé
Tuesday, March 12,
15.00-19.00
Workshop A - From the Silent
Era to Digital Piracy
Sala Tiepolo, Palazzo Caiselli
Vinzenz Hediger
(Goethe-Universität
Frankfurt)
Rights as Incentives
Tom Paulus
(Universiteit Antwerpen)
Whose Motif Is It Anyway
“Scènes à faire” and Author‘s
Rights During the Classical
Studio Era
Alexander Peukert
(Goethe-Universität
Frankfurt)
The Digital Author
Discussione/Discussion
Presiede/Chair:
Leonardo Quaresima
(Università degli Studi di
Udine)
Vito Adriaensens
(Universiteit Antwerpen)
A Singular Flower? Gaumont
Productions and the PanEuropean Style 1908-1914
Anke Brouwers
(Universiteit Antwerpen)
Writing Themselves on to the
Film: Authors and Autographs
in the Silent Era
Discussione/Discussion
Pausa/Break
Franck Gloglo
(Université Laval, Québec)
Finding the Law: The Case
of Copyright and Related
Rights Enforcement in the
Digital Era
Lucia Tralli
(Università di Bologna)
“Some Rights Granted.”
Remixing Media - Online
Diffusion and Fair Use
Doctrine
Discussione/Discussion
Presiede/Chair:
Peter Decherney
(University of Pennsylvania)
Tuesday, March 12,
15.00-19.00
Workshop B - From
Economic Problems to
Artistic Practices
Sala Riunioni, Palazzo
Caiselli
Daniele Doglio
(Università Cattolica del
Sacro Cuore, Milano)
Not a “Natural Right”:
Copyright Is Still the Only
Way to Properly Fund
Production
Claudio Celis
(Cardiff University)
For a Critique of the Political
Economy of Intellectual
Property
Discussione/Discussion
Pausa/Break
Ingrid Stigsdotter
(Linnaeus University)
Los Angeles Distributes Itsefl
on Web.2
Lance Rickman
(University of Essex)
The French Nobleman‘s Wife:
Imitation and Innovation
Discussione/Discussion
Presiede/Chair:
Marc Vernet
(Université de Paris Diderot)
Proiezioni/Screenings
Udine
Tuesday, March 12, 21.00
Cinema Visionario, via
Asquini 33, Udine
The We and The I
(Michel Gondry, 2012, 103’)
Udine, Tuesday, March 12
Tuesday, March 12,
9.30-13.00
Università degli Studi di
Udine, Sala Convegni
prof. Roberto Gusmani,
Palazzo Antonini
Udine, Wednesday, March 13
Wednesday, March 13,
9.30-13.00
Università degli Studi di
Udine, Sala Convegni
prof. Roberto Gusmani,
Palazzo Antonini
Leontien Bout
(Eye Film Institute)
Copyright: Burden or
Blessing? An Overview of the
Impact of Copyright Related
Issues on Cultural Heritage
Institutions
Nicola Mazzanti
(Cinémathèque Royale de
Belgique)
Yes, We Can... Actually, No
We Cannot
Coordinato da/
Coordinated by:
Nicola Mazzanti
(Cinémathèque Royale
de Belgique, president
Association des
Cinémathèques Européennes)
Discussione/Discussion
Pausa/Break
Presentazione degli ultimi
volumi delle collane Mimesis
Cinema, Mimesis Cinergie,
Mimesis Media/Sex
Presentation of the last issues
of the Book Series Mimesis
Cinema, Mimesis Cinergie,
Mimesis Media/Sex
Presentazione del libro
“Preserving and Exhibiting
Media Art”, a cura di Julia
Noordegraaf, Vinzenz
Hediger, Barbara Le
Maître and Cosetta Saba,
Amsterdam, University Press,
2013
Presentation of the book
“Preserving and Exhibiting
Media Art”, edited by Julia
Noordegraaf, Vinzenz Hediger,
Barbara Le Maître and Cosetta
Saba, Amsterdam University
Press, 2013
Rosanna Maule
(Concordia University,
Montréal)
Reconfiguring Intellectual
Property: Archiveology as
Critical Practice
Leonardo Chiariglione
(Independent scholar)
Standards and Intellectual
Property in Film Content Life
Cycle
Vincenzo D’Andrea
(Università degli Studi di
Trento)
The Apparent Convergence of
Openness and Participation
Discussione/Discussion
Presiede/Chair:
Vinzenz Hediger
(Goethe-Universität
Frankfurt)
Wednesday, March 13,
15.00-17.30
Workshop A - Intellectual
Property: A Worldwide Survey
Sala Tiepolo, Palazzo
Caiselli
Wednesday, March 13,
15.00-17.30
Workshop B - Intellectual
Property and Archival Practices
Sala Riunioni, Palazzo
Caiselli
Manuel Garin, Alan Salvadó
(Universitat Pompeu Fabra,
Barcelona)
Simultaneous Property and
Experimental Piracy in Pere
Portabella‘s Vampir Cuadecuc
Rechsteiner Emjay
(Eye Film Institute)
Of Orphans and Widow Works
Clara Darmon
(Université Paris 3)
The Forms of Authors’ Right
Violation in Russia: The
Economic Transation and the
Redefinition of the Author
(1970-2010)
Claudy Op den Kamp
(Plymouth University)
The Greatest Films Never
Seen: Audiovisual Archives
and the Orphan Works
Problem
Discussione/Discussion
Pausa/Break
Caroline Renouard
(Université de Paris-Est)
Restoration amateur - repack
de films rares: pour une
légitimation de la cinéphilie
pirate?
Mounia Bel-Afia
(Université Paris 3)
Les Droits d‘auteurs
audiovisuels au pays des
tournages
Discussione/Discussion
Presiede/Chair:
Gianni Celata
(Università di Roma
La Sapienza)
Nicolò Gallio, Marta
Martina
(Università di Bologna)
The Crowd Strikes
Back: Crowdsourcing,
Crowdfunding and the
Changes of Intellectual
Property
Pausa/Break
Discussione/Discussion
Presiede/Chair:
Rosanna Maule
(Concordia University,
Montréal)
Orphan Films and the
European Union Copyright
Reform
Tavola rotonda coordinata
da/Round Table coordinated
by Association des
Cinémathèques Européennes
Presiede/Chair
Nicola Mazzanti
(Cinémathèque
Royale de Belgique,
president Association
des Cinémathèques
Européennes)
Anna Batistová
(Národní Filmovy´ Archiv)
Leontien Bout
(Eye Film Institute)
Anna Fiaccarini
(Fondazione Cineteca
di Bologna)
Emiliano Morreale
(Centro Sperimentale di
Cinematografia - Cineteca
Nazionale)
Ivan Nedoh
(Slovenska Kinoteka)
Proiezioni/Screenings
Udine
Hermitage
(Carmelo Bene, 1967, 26’)
Wednesday, March 13, 18.00
Cinema Visionario, via
Asquini 33, Udine
Wednesday, March 13, 21.00
Cinema Visionario, via
Asquini 33, Udine
Tavola rotonda/Round table
I media contemporanei
tra pirateria e proprietà
intellettuale
Contemporary Media
Between Piracy and
Intellectual Property
Le proprietà intellettuali/
le libertà intellettuali
Presentati da/Presented by
Emiliano Morreale
(Centro Sperimentale di
Cinematografia - Cineteca
Nazionale)
Coordinato da/Coordinated
by Simone Arcagni e
Roy Menarini
Tigullio minore
(Dino Risi, 1947, 9’)
A seguire/Following
Dino Risi: gli esordi ritrovati
Verso la vita
(Dino Risi, 1946, 12’)
La provincia dei sette laghi
(Dino Risi, 1948, 10’)
Premio Limina/
Limina Award
Assegnazione dell’ XI
Premio Limina per
libri di cinema italiani e
internazionali pubblicati
nel 2012
Awarding assignment of
the XI Limina Award for
Italian and International
Film Studies books published
in 2012
La fabbrica del Duomo
(Dino Risi, 1949, 10’)
In collaborazione/
In collaboration with
MyMovies.it
Un’opera non è di un autore
e neppure la vita lo è:
Carmelo Bene
1848
(Dino Risi, 1949, 11’)
Presentati da/Presented by
Sergio Toffetti
(Archivio Nazionale del
Cinema d’Impresa di Ivrea
- Centro Sperimentale di
Cinematografia)
Bis
(Paolo Brunatto, 1966, 20’)
Il canto d’amore
di Alfred Prufrock
(Nico D’Alessandria, 1967,
20’)
Thursday, March 14,
9.30-13.00
Sala Convegni prof. Roberto
Gusmani, Palazzo Antonini
Discussione/Discussion
Presiede/Chair:
Jane Gaines
(Columbia University)
Guglielmo Pescatore
(Università di Bologna)
Piracy and Consumption of
Digital Goods
Conclusioni e fine dei lavori/
Final remarks and end of
works
Marc Vernet
(Université de Paris Diderot)
L’Auteur et les procédures
légales aux Etats-Unis entre
1913 et 1917
Valentina Re
(Università Ca’ Foscari, Venezia)
“Stop, Thief!”: Media
Industries, File Sharing and
The Rhetoric of Anti-piracy
Campaigns
Discussione/Discussion
Pausa/Break
Presentazione del n. 3 della
rivista “Cinergie. Il cinema e le
altre arti”/Presentation of the
issue no. 3 of the film journal
“Cinergie. Il cinema e le altre arti”
Presentazione del n. 2 della
rivista “G|A|M|E: The Italian
Journal of Game Studies ”
Presentation of the issue no. 2 of
the film journal “G|A|M|E: The
Italian Journal of Game Studies”
Vincenzo De Masi,
(Universität Zürich)
Media in China: The Creativity
of the Chinese Animation in
the Soft Power Era
Gianni Celata
(Università di Roma
La Sapienza)
Movie and Web Between
Piracy and Opportunities
Proiezioni/Screenings
Gorizia
Thursday, March 14, 21.00
Kinemax Gorizia, piazza
Vittoria 41, Gorizia
Binding Memories
Moja Meja
(Nadja Velušček, Anja
Medved, 2002, 50’)
My Lost Generation
(Vladimir Tomič, 2009, 31’)
A Letter to Dad
(Srd¯an Keča, 2011, 48’)
A seguire/Following
Balkan Tour
Programma di cortometraggi
provenienti da/A programme
of short films from Slovenia,
Croazia, Serbia, Macedonia,
Montenegro, Bosnia
A cura di/Curated by
Eurochannel
Organizzato da/Organized by
Accademia Europeista del
FVG / Eurochannel
Presentato da/Presented by
Aleš Doktorǐc,
Ludovica Fales
Udine/Gorizia,Wednesday, March 13/Thursday, March 14
Evento Speciale/
Special Event
XI MAGIS Gorizia – International Film Studies Spring School
Gorizia, Friday, March 15
Friday, March 15, 9.30-13.00
Sala della Torre, Fondazione
Cassa di Risparmio di
Gorizia
Interventi di saluto/Greetings
Cristiana Compagno,
Magnifico Rettore
dell’Università degli Studi
di Udine
Federico Portelli, Assessore
alla Cultura, Provincia di
Gorizia
Ettore Romoli, Sindaco del
Comune di Gorizia
Rudi Ziberna, Assessore alla
Cultura, Comune di Gorizia
Mauro Pascolini, Direttore
Centro Polifunzionale di
Gorizia
Franco Obizzi, Presidente
Fondazione Cassa di
Risparmio di Gorizia
Roberto Calabretto,
Presidente del Corso di
Laurea Dams, Università
degli Studi di Udine
Presentazione/Introduction
Leonardo Quaresima,
Università degli Studi di
Udine
Presentation of the Workshops
Post-Cinema: Videogame/
Animation/Comics
Federico Giordano
(Università per stranieri di
Perugia), Ludovica Fales
(Università degli Studi di
Udine), Alberto Brodesco
(Università degli Studi di
Trento)
Cinema & Contemporary
Visual Arts
Alessandro Bordina,
Francesco Federici
(Università degli Studi di
Udine)
The Film Heritage
Andrea Mariani, Simone
Venturini (Università degli
Studi di Udine), HansMichael Bock (CineGraph,
Hamburg), Jürgen Keiper
(Deutsche Kinemathek
Berlin), Jan Distelmeyer
(Fachhochschule Potsdam
- EMW, FH / Universität
Potsdam)
Porn Studies: Cartography of
Pornographic Audiovisual
Giovanna Maina (Università
degli Studi di Pisa), Enrico
Biasin, Federico Zecca
(Università degli Studi di
Udine)
Pausa/Break
Post-Cinema: Videogame/
Animation/Comics
Patricia MacCormack
(Anglia Ruskin University)
Cinema, Arts, Desire:
A Cinesexual DeleuzioGuattarian Approach
Olivier Asselin
(Université de Montréal)
The Thrill of the Real: On the
Use of Metalepsis in MixedReality Film and Games
Discussione/Discussion
Presiede/Chair:
Leonardo Quaresima
(Università degli Studi di
Udine)
Friday, March 15,
15.00-18.00
Workshops
Post-Cinema: Videogame/
Animation/Comics
Polo Santa Chiara
Cinema & Contemporary
Visual Arts
Polo Santa Chiara
Philippe Marion
(Université de Louvain),
Comics and Desire
Gabriele Jutz
(Universität für angewandte
Kunst Wien)
The Sound of Technology
Yael Ben Nun
(Università Paris VIII)
La Répresentation du corps
dans Gantz: la question du
passage du corps dessiné au
corps de l’acteur dans les
adapatations de l’oeuvre
Enrico Camporesi
(Université Paris 3)
Le Film ready-made. Pratique
d’appropriation et valeur
d’exposition à partir de
Perfect Film (1986) de Ken
Jacobs
Jonathan Thonon
(Université de Liège)
Le Remake dans l’art
contemporain: écarts et écrans
Sarah Durcan
(Birkbeck, University of
London)
Documentary Fictions:
Challenges to Concepts of
Originality and Authenticity
in the Work of Pierre Huyghe
Coordinato da/Coordinated by
Gabriele Jutz
(Universität für angewandte
Kunst Wien)
Marc Joly
(Université de Montréal)
Neoreligious Affect in the
Age of Digital Technology:
Cinephany and Cultural
Rapresentation
Coordinato da/
Coordinated by
Marco Benoît Carbone
(University College
London), Carl Therrien
(Université de Montréal)
Proiezioni/Screenings
Friday, March 15, 21.00
Kinemax Gorizia, piazza
Vittoria 41, Gorizia
Panzano
(Rosa Barba, 2000, 16mm, 22’)
They Shine
(Rosa Barba, 2007, 35mm, 4’)
Outwardly from Earth’s
Center
(Rosa Barba, 2007, 16mm,
24’)
The Long Road
(Rosa Barba, 2010, 35mm,
6’10’’)
The Hidden Conference:
About the Discontinuous
History of Things We See and
Don’t See
(Rosa Barba, 2010, 35mm, 11’)
Somnium
(Rosa Barba, 2011, 16mm, 19’)
Time as Perspective
(Rosa Barba, 2012, 35mm, 12’)
Presentato da/Presented by
Rosa Barba
Post-Cinema: Videogame/
Animation/Comics
Andrea Mubi Brighenti
(Università degli Studi di
Trento)
Addictive Visibility: Some
Thoughts on New Media
Uses
Cinema & Contemporary
Visual Arts
Maeve Connolly
(Dun Laoghaire Institute of
Art, Design and Technology)
Cinematic Mind-Games in
the Gallery: Film Theory and
Art Practice
Sandra Lischi
(Università degli Studi di
Pisa)
Films à parcourir:
l’installation dans
quelques expériences
cinématographiques récentes.
Discussione/Discussion
Pausa/Break
Presiede/Chair:
Wanda Strauven
(Universiteit van
Amsterdam)
Artist Talk
Rosa Barba
Discussione/Discussion
Saturday, March 16,
15.00-18.00
Workshops
Cinema & Contemporary
Visual Arts
Polo Santa Chiara
Maeve Connolly
(Dun Laoghaire Institute of
Art, Design and Technology)
The Cinematic Beyond
Cinema Chris Fite-Wassilak
(University of East London)
The Performance of the
Cinematic: The Evocation of
Cinema in Live Events
Francesco Federici
(Università degli Studi di
Udine)
The Space of the Viewer:
Notes on Spectatorship in the
Gallery
Coordinato da/
Coordinated by
Maeve Connolly
(Bauhaus-Universität
Weimar)
Post-Cinema: Videogame/
Animation/Comics
Polo Santa Chiara
Carl Therrien
(Université de Montréal)
From Fear to Empathy. A
Journey Through Affective
Ecosystems in Video Games
Joyce Goggin
(Universiteit van Amsterdam)
Contagion and Gamification:
Addiction as an Economic
Driver
Proiezioni/Screening
Ivan Girina
(University of Warwick)
Desire and Fear of
Transformation in Japanese
Contemporary Popular
Culture: The Postmodern
Aesthetics of Transfiguration
from Resident Evil to Devil
May Cry
Terra animata
(Luca Patella, 1967, 6’)
Giuseppe de Riso
(Università degli Studi
di Napoli L’Orientale)
Femininity and Male Desire in
Third-person Videogames
Coordinato da/
Coordinated by
Marco Benoît Carbone
(University College London),
Carl Therrien
(Université de Montréal)
Reflex
(Mario Schifano, 1964, 16’)
Decadimenti e riemersioni. Il cinema pittorico di
Guglielmo Baldassini
(Selezione di filmati Pathé
Baby, 1926-1931 ca., 16mm
da 9,5mm, 35’a 24 f/s.)
Archivio Nazionale del
Film di Famiglia, Fondo
Guglielmo Baldassini
Restaurato nel 2012 da/
Restored in 2012 by La
Camera Ottica and CREA,
Recording and Print16mm,
Marco Emiliani
Souvenir
(Mario Schifano, 1967, 11’)
Musicato da/Musicated by
Roberto Paci Dalò
Presentati da/Presented by
Annamaria Licciardello
(Centro Sperimentale di
Cinematografia - Cineteca
Nazionale)
Organizzato da/Organized
by La Camera Ottica - Home
Movies Archivio Nazionale
del Film di Famiglia
Saturday, March 16, 21.00
Kinemax Gorizia, piazza
Vittoria 41, Gorizia
SKMP2
(Luca Patella, 1968, 30’)
Da Bologna a Stalino.
Documentario sul viaggio
del convoglio n°1
(Enrico Chierici, 1942,
9,5mm, 20’ a 16 f/s)
Archivio Nazionale del Film
di Famiglia, Fondo Fratelli
Chierici Restaurato nel 2012 da/
Restored in 2012 by La
Camera Ottica and CREA
Musicato da/Musicated by
Renato Rinaldi
Gorizia, Saturday, March 16
Saturday, March 16,
9.30-13.00
Sala della Torre, Fondazione
Cassa di Risparmio di
Gorizia
Gorizia, Sunday, March 17
Sunday, March 17,
9.30-13.00
Sala della Torre, Fondazione
Cassa di Risparmio di
Gorizia
Cinema & Contemporary
Visual Arts/Incontri con il
cinema italiano
Coordinato da/
Coordinated by
Paolo Vampa
(Vampa Productions),
Alessandro Bordina
(Università degli Studi di
Udine)
Discussione/Discussion
Tavola rotonda su/
Round table on
Paolo Gioli
Sunday, March 17,
15.00-18.00
Workshops
Marco Bertozzi
(Università IUAV di Venezia)
Cinema & Contemporary
Visual Arts
Polo Santa Chiara
Evgenia Giannouri
(Université Lille 3)
Gabriele Jutz
(Universität für angewandte
Kunst Wien)
Kim Knowles
(Aberystwyth University)
Annamaria Licciardello
(Centro Sperimentale di
Cinematografia)
Antonio Somaini
(Université Paris 3)
Politics and Poetics
of Found Footage
Stefania Schibeci
(Università degli Studi di
Genova)
Le Projet W. de Peter Forgács:
physiognomonie raciale,
archive, remploi
Wanda Strauven
(Universiteit van Amsterdam)
Marco Senaldi
(Université Paris 3 / IULM)
Repeat Your Concept.
Sturtevant’s Remake of
Warhol’s and Duchamp’s
Films Reconsidered
Coordinato da/
Coordinated by
Antonio Somaini
(Université Paris 3)
Monise Nicodemos
(Université Paris 3)
Histoire, poésie et remploi
d’images dans La Rabbia.
Discussione/Discussion
Pausa/Break
Coordinato da/
Coordinated by
Antonio Somaini
(Université Paris 3)
Antonio Somaini
(Université Paris 3)
Artist Talk
Paolo Gioli
Post-Cinema: Videogame/
Animation/Comics
Polo Santa Chiara
Karin Andersen (Artist)
Hybrid Desire: Zoomorphism
in Contemporary Art and
Film
Giorgio Avezzù
(Università Cattolica del
Sacro Cuore, Milano)
Here & There. On the
“Cartographic Paradox”
in Film and After #1:
Contemporary Cinema and
the Rhetoric of Tactic
Mauro Salvador
(Università Cattolica del
Sacro Cuore, Milano)
Here & There. On the
“Cartographic Paradox” in
Film and After #2: Shooter
Games, Between Surface and
Depth
Miriam De Rosa
(Università Cattolica del
Sacro Cuore, Milano)
Here & There. On the
“Cartographic Paradox”
in Film and After #3:
Contemporary Visual Arts
and Desire to Be (Here)
Coordinato da/
Coordinated by
Andrea Mubi Brighenti
(Università degli Studi di
Trento)
Proiezioni/Screening
A seguire/Following
Sunday, March 17, 21.00
Kinemax Gorizia, piazza
Vittoria 41, Gorizia
Scotch Tape
(Jack Smith, 1959-1962,
16mm, 3’)
Filmarilyn
(Paolo Gioli, 1992, 16mm,
11’12”)
Respectable Creatures
(Jack Smith, 1950s/1966,
16mm, 24’)
Film stenopeico (L’uomo
senza macchina da presa)
(Paolo Gioli, 1973-19811989, 16mm, 13’06”)
Flaming Creatures
(Jack Smith, 1962-63,
16mm, 43’)
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 by
Antonio Somaini, Paolo
Vampa and Paolo Gioli
Presentato da/Presented by
Marc Siegel
(Goethe-Universität
Frankfurt)
Free
Monday, March 18,
15.00-18.00
Workshops
Porn Studies: Cartography of
Pornographic Audiovisual
Polo Santa Chiara
The Film Heritage: Film
between Access and
Governance/Cinema &
Contemporary Visual Arts
Polo Santa Chiara
Clarissa Smith
(University of Sunderland)
The Breathless Jogger:
Legislating “Extreme” P*rn in
the UK
Christian Gosvig Olesen
(Universiteit van Amsterdam)
Digitizing an “Aesthetic of
Film History”: Programming
and Access Policy in EYE’s
Panorama
Feona Attwood
(Middlesex University,
London)
Never Mind the Bollocks:
British Porn Online
Rossella Catanese
(Università di Roma
La Sapienza)
The Case of Ballet
Mécanique. A Repainted
Ballet and Its Copyright
Secrets
Naomi Rolef
(Goethe-Universität
Frankfurt)
The Stuff Israeli Film Is Made
of: A Case Study
Beatriz Tadeo Fuica
(University of St Andrews)
Past Footage, Present
Challenges: Digitizing
Uruguayan Film Heritage
Coordinato da/
Coordinated by
Simone Venturini
(Università degli Studi di
Udine)
Anna Span
(director)
Director’s Talk
Coordinato da/
Coordinated by
Clarissa Smith
(University of Sunderland)
Proiezioni/Screenings
Monday, March 18, 21.00
Kinemax Gorizia, piazza
Vittoria 41, Gorizia
Two 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 by
Roe Rosen
Gorizia, Monday, March 18
Monday, March 18,
9.30-13.00
Sala della Torre, Fondazione
Cassa di Risparmio di
Gorizia
Gorizia, Tuesday, March 19
Tuesday, March 19,
9.30-13.00
Sala della Torre, Fondazione
Cassa di Risparmio di
Gorizia
Porn Studies: Cartography of
Pornographic Audiovisual
Neil Lester
(Arizona State University)
“Fear of a Black Planet”: Race,
Sex, and Breeding a Culture
of White Patriarchal Fear in
Tumblr Pornography
Katrien Jacobs
(Chinese University, Hong
Kong)
Drifting Eyeballs: Feminine
Pornography in Hong Kong,
Japan and the USA
Peter Rehberg
(The University of Texas at
Austin)
Queer Fanzines as
Post-Pornographic Utopia
Discussione/Discussion
Pausa/Break
Presiede/Chair:
Gloria-Lauri Lucente
(University of Malta)
Artist Talk
Roe Rosen
Discussione/Discussion
Tuesday, March 19,
15.00-18.00
Workshops
The Film Heritage: Film
between Access and
Governance
Polo Santa Chiara
Jürgen Keiper
(Deutsche Kinematek, Berlin)
The Question of an Open Culture
Porn Studies: Cartography of
Pornographic Audiovisual
Polo Santa Chiara
Mariana Baltar, Nayara
Barreto
(Fluminense Federal
University, Rio de Janeiro)
Inside Sex Diaries: “Putaria”,
Identity and Ordinary
Amateur Sex
Lucio De Franciscis dos Reis
Piedade
(Anhembi Morumbi
University, São Paulo)
New Trends of the Brazilian
Porn in the Late Twentieth
Century
Marco Benoît Carbone
(University College London)
Porn-orientalism: Naughty
Japan. The Construction of
Japanese Sexuality in Online
Pornography
Naomi Rolef
(Goethe-Universität
Frankfurt)
The Porn Star Blogger: Practices
of Self‐Authorship through
Blogging and Twitting
Cordinato da/Coordinated by
Katrien Jacobs (Chinese
University, Hong Kong),
Neil Lester (Arizona State
University)
Proiezioni/Screenings
Tuesday, March 19, 21.00
Kinemax Gorizia, piazza
Vittoria 41, Gorizia
Dear Steve
(Hermann Asselberghs,
2010, 45’)
Speech Act
(Hermann Asselberghs,
2011, 29’)
A seguire/Following
A.M./P.M.
(Hermann Asselberghs, 2004,
45’45’’)
Presentato da/Presented by
Hermann Asselberghs
The Film Heritage
Jürgen Keiper
(Deutsche Kinematek,
Berlin)
Concepts of Commons
Virginia Crisp
(Middlesex University,
London)
Access and Power:
Film Distribution,
Disintermediation
and Digital Piracy
Discussione/Discussion
Pausa/Break
Presiede/Chair:
Hans-Michael Bock
(CineGraph, Hamburg)
Artist Talk
Herman Asselberghs
Discussione/Discussion
Wednesday, March 20,
15.00-18.00
Workshops
The Film Heritage: Film
between Access and
Governance
Polo Santa Chiara
Virginia Crisp
(Middlesex University,
London)
Access and Ownership in the
Digital World: The Effects of
New Modes of Distribution on
Film Consumption, Archiving
and Ownership
Porn Studies: Cartography of
Pornographic Audiovisual
Polo Santa Chiara
Oliver Carter
(Birmingham Centre
for Media and Cultural
Research)
Historicising the British
Hardcore Pornography Film
Industry
John Mercer
(Birmingham Centre
for Media and Cultural
Research)
A World of Men: “National
Pornographies” and the UK
Gay Porn Industry
Sharif Mowlabocus
(University of Sussex)
“It’s About the Life We Had
and the Life That You Don’t
Have”: Negotiating Bareback
Pornography in Gay Male
Sub-culture
Coordinato da/
Coordinated by
John Mercer (Birmingham
Centre for Media and
Cultural Research)
Wednesday, March 20,
15.00-18.00
Kinemax Gorizia/Palazzo
del cinema
Gorizia
Proiezioni/Screenings
Incontri con il cinema
italiano contemporaneo
Cinema italiano
contemporaneo
Seminario con il gruppo
Flatform
Incontro con proiezioni
In natura non esistono effetti
speciali, solo conseguenze
(Flatform, 2007, 2’ 03’’)
Coordinato da/
Coordinated by
Sergio Fant, Roy Menarini
Intorno allo zero
(Flatform, 2007, 3’42’’)
Wednesday, March 20, 21.00
Kinemax Gorizia, piazza
Vittoria 41, Gorizia
Domenica 6 aprile, ore 11:42
(Flatform, 2008, 6’ 12’’)
57.600 secondi di notte e luce
invisibili
(Flatform, 2009, 5’25’’)
Non si può nulla contro il
vento
(Flatform, 2010, 6’ 20’’)
Un luogo a venire
(Flatform, 2011, 7’30’’)
Movimenti di un tempo
impossibile
(Flatform, 2011, 8’ 05’’)
Presentato da/Presented by
Flatform
A seguire/Following
ZimmerFrei, Temporary 8th
(Zimmerfrei, 2012, 52’)
Presentato da/Presented by
Zimmerfrei
Gorizia, Wednesday, March 20
Wednesday, March 20,
9.30-13.00
Sala della Torre, Fondazione
Cassa di Risparmio
di Gorizia
Gorizia, Thursday, March 21
Thursday, March 21,
9.30-13.00
Sala della Torre,
Fondazione Cassa di
Risparmio di Gorizia
The Film Heritage
Claudy Op den Kamp
(Plymouth University)
Found Footage, Legal
Provenance and “Aesthetics
of Access”
Annabelle Shaw
(British Film Institute)
Unlocking Films the Right
Way
Discussione/Discussion
Pausa/Break
Cinema & Contemporary
Visual Arts
Rinaldo Censi
(Università degli Studi di
Pavia)
The Dematerialization of
the Film Object (Notes and
Paradoxes)
Martina Panelli
(Università degli Studi di
Udine)
Appropriation, restitution
et legibilité des images
d’archives: un parcours vers
l’impersonnel à partir de
l’analyse de l’oeuvre d’Harun
Farocki, Gustav Deutsch,
Barbara Hammer
Discussione/Discussion
Presiede/Chair:
Jan Diestelmeyer
(Fachhochschule Potsdam
- EMW, FH / Universität
Potsdam)
Thursday, March 21,
15.00-18.00
Workshops
The Film Heritage: Film
between Accessibility and
Governance
Polo Santa Chiara
Claudy Op den Kamp
(Plymouth University)
Recycled Images: Found
Footage Filmmaking
Practices
Porn Studies: Cartography
of Pornographic
Audiovisual
Polo Santa Chiara
Duccio Colombo
(Università di Palermo)
“There Is No Sex Here”:
Soviet Prudery and the
Shifting Borders of Decency
Vasyl Cherepanyn
(Visual Culture Research
Center, Kiev)
Ukrainian Body: Art, Porn,
Politics
Gian Piero Piretto
(Università degli Studi di
Milano)
Armen Oganezov and the
Post-Soviet Porn Side of
Russian Literature
Coordinato da/
Coordinated by
Gian Piero Piretto
(Università degli Studi di
Milano)
Thursday, March 21,
15.00-18.00
Kinemax Gorizia/Palazzo
del cinema
Incontri con il cinema
italiano contemporaneo
Seminario con il gruppo
Zimmerfrei
Incontro con proiezioni
Coordinato da/Coordinated by
Sergio Fant, Roy Menarini
Udine/Gorizia, Screenings
Udine/Gorizia, Screenings
Proiezioni/Screenings
Udine
Tuesday, March 12, 21.00
Cinema Visionario, via
Asquini 33, Udine
The We and The I
(Michel Gondry, 2012, 103’)
Wednesday, March 13, 21.00
Cinema Visionario, via
Asquini 33, Udine
Proiezioni/Screenings
Gorizia
Le proprietà intellettuali/
le libertà intellettuali
Thursday, March 14, 21.00
Kinemax Gorizia, piazza
Vittoria 41, Gorizia
Dino Risi: gli esordi ritrovati
Binding Memories
Verso la vita
(Dino Risi, 1946, 12’)
Moja Meja
(Nadja Velušček, Anja
Medved, 2002, 50’)
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 by
Sergio Toffetti
(Archivio Nazionale del
Cinema d’Impresa di Ivrea
- Centro Sperimentale di
Cinematografia)
Un’opera non è di un autore e
neppure la vita lo è: Carmelo Bene
Bis
(Paolo Brunatto, 1966, 20’)
Il canto d’amore
di Alfred Prufrock
(Nico D’Alessandria, 1967, 20’)
Hermitage
(Carmelo Bene, 1967, 26’)
Presentati da/Presented by
Emiliano Morreale
(Centro Sperimentale di
Cinematografia - Cineteca
Nazionale)
My Lost Generation
(Vladimir Tomič, 2009, 31’)
A Letter to Dad
(Srd¯an Keča, 2011, 48’)
A seguire/Following
Balkan Tour
Programma di cortometraggi
provenienti da/ A programme
of short films from Slovenia,
Croazia, Serbia, Macedonia,
Montenegro, Bosnia
A cura di/Curated by
Eurochannel
Organizzato da/Organized
by Accademia Europeista del
FVG / Eurochannel
Presentato da/Presented by
Aleš Doktorǐc,
Ludovica Fales
Friday, March 15, 21.00
Kinemax Gorizia, piazza
Vittoria 41, Gorizia
Panzano
(Rosa Barba, 2000, 16 mm,
22’)
They Shine
(Rosa Barba, 2007, 35 mm,
4’)
Outwardly from Earth’s
Center
(Rosa Barba, 2007, 16 mm,
24’)
The Long Road
(Rosa Barba, 2010, 35mm,
6’10’’)
The Hidden Conference:
About the Discontinuous
History of Things We See and
Don’t See
(Rosa Barba, 2010, 35mm,
11’)
Somnium
(Rosa Barba, 2011, 16mm,
19’)
Time as Perspective
(Rosa Barba, 2012, 35mm,
12’)
Presentato da/Presented by
Rosa Barba
Terra animata
(Luca Patella, 1967, 6’)
SKMP2
(Luca Patella, 1968, 30’)
Reflex
(Mario Schifano, 1964, 16’)
Souvenir
(Mario Schifano, 1967, 11’)
Presentati da/Presented by
Annamaria Licciardello
(Centro Sperimentale di
Cinematografia - Cineteca
Nazionale)
Da Bologna a Stalino.
Documentario sul viaggio
del convoglio n°1
(Enrico Chierici, 1942,
9,5mm, 20’ a 16 f/s)
Archivio Nazionale del Film
di Famiglia, Fondo Fratelli
Chierici Restaurato nel 2012 da/
Restored in 2012 by La
Camera Ottica and CREA
Musicato da/Musicated by
Renato Rinaldi
Decadimenti e riemersioni. Il
cinema pittorico di Guglielmo
Baldassini
(Selezione di filmati Pathé
Baby, 1926-1931 ca., 16mm
da 9,5mm, 35’a 24 f/s.)
Archivio Nazionale del
Film di Famiglia, Fondo
Guglielmo Baldassini
Restaurato nel 2012 da/
Restored in 2012 by La
Camera Ottica and CREA,
Recording and Print16mm,
Marco Emiliani
Musicato da/Musicated by
Roberto Paci Dalò
Organizzato da/Organized
by La Camera Ottica - Home
Movies Archivio Nazionale
del Film di Famiglia
Sunday, March 17, 21.00
Kinemax Gorizia, piazza
Vittoria 41, Gorizia
Respectable Creatures
(Jack Smith, 1950s/1966,
16mm, 24’)
Monday, March 18, 21.00
Kinemax Gorizia, piazza
Vittoria 41, Gorizia
Filmarilyn (1992),
(Paolo Gioli, 16mm, 11’12”)
Flaming Creatures
(Jack Smith, 1962-63, 16mm,
43’)
Two Women and Man
(Roe Rosen, 2005, 17’)
Film stenopeico (L’uomo senza
macchina da presa)
(Paolo Gioli, 1973-19811989, 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 by
Antonio Somaini, Paolo
Vampa and Paolo Gioli
A seguire/Following
Scotch Tape
(Jack Smith, 1959-1962,
16mm, 3’)
Presentato da/Presented by
Marc Siegel
(Goethe-Universität
Frankfurt
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 by
Roe Rosen
Gorizia, Screenings
Saturday, March 16, 21.00
Kinemax Gorizia, piazza
Vittoria 41, Gorizia
Gorizia, Screenings
Tuesday, March 19, 21.00
Kinemax Gorizia, piazza
Vittoria 41, Gorizia
Wednesday, March 20, 21.00
Kinemax Gorizia, piazza
Vittoria 41, Gorizia
Dear Steve
(Hermann Asselberghs,
2010, 45’)
Cinema italiano
contemporaneo
Speech Act
(Hermann Asselberghs,
2011, 29’)
A seguire/Following
A.M./P.M.
(Hermann Asselberghs, 2004,
45’45’’)
Presentato da/Presented by
Hermann Asselberghs
In natura non esistono effetti
speciali, 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 luce
invisibili
(Flatform, 2009, 5’25’’)
Non si può nulla contro il
vento
(Flatform, 2010, 6’ 20’’)
Un luogo a venire
(Flatform, 2011, 7’30’’)
Movimenti di un tempo
impossibile
(Flatform, 2011, 8’ 05’’)
Presentato da/Presented by
Flatform
A seguire/Following
ZimmerFrei, Temporary 8th
(Zimmerfrei, 2012, 52’)
Presentato da/Presented by
Zimmerfrei
FILM FORUM 2013
Dipartimento di Storia e Tutela dei Beni Culturali
Associazione Culturale Maiè, Udine
Mediateca.GO “Ugo Casiraghi”
Mediateca Provinciale di Gorizia - Goriška Pokrajinska Mediateka
Université Paris 3 – Sorbonne Nouvelle, UFR Cinéma
Associazione Home Movies – Archivio Nazionale del Film di Famiglia / Österreichisches
Filmmuseum, Wien / Cineteca del Comune di Bologna / Centro Sperimentale di
Cinematografia – 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 Giornate
del Cinema Muto, Pordenone / Cinemazero, Pordenone
In collaborazione con le riviste:
“CINÉMA & Cie”, “Cinergie. Il cinema e le altre arti”, G|A|M|E
In collaborazione con:
CineGraph, Hamburg
CineFest, Hamburg
Fachochschule Postdam
Universität Potsdam
E con il sostegno al Premio Limina di:
GRAFICS, Groupe de recherche sur l’avènement et la formation
des institutions cinématographique et scénique, Université de Montréal
ACE – Association des Cinémathèques Européennes
Media partner:
Dottorato Internazionale in Studi Audiovisivi: Cinema, Musica, Comunicazione
Laurea Magistrale Internazionale in Discipline del Cinema/Film and Audiovisual Studies
Corso di Laurea DAMS, Gorizia
Con il sostegno di:
Corso di Laurea in Relazioni Pubbliche, Gorizia
Centro Polifunzionale di Gorizia
Area Relazioni Esterne
Centro Rapporti Internazionali
IP – Erasmus Intensive Programme - Contemporary Audiovisual Geographies 3
From Intellectual Property to Grassroots Partecipation
ACE – Association des Cinémathèques Européennes
Dipartimento di Musica e Spettacolo, Università di Bologna
Dipartimento di Scienze della Comunicazione e dello Spettacolo,
Università Cattolica del Sacro Cuore, Milano
Dipartimento di Storia delle Arti e Conservazione dei Beni Artistici “G. Mazzariol”,
Università Ca’ Foscari, Venezia
MACRO (Media Art Centre of Research and Observatory)
Centro Studi di Ricerche sulla Sceneggiatura, “Sergio Amidei”, Gorizia
Cinemantica, Laboratorio Cinema e Multimedia, Udine
La Camera Ottica, Film and Video Restoration, Gorizia
Crea, Centro Ricerca Elaborazione Audiovisivi, Gorizia
Comune di Udine
Provincia di Udine
Comune di Gorizia
Provincia di Gorizia
http://www.filmforumfestival.it/