Professional Documents
Culture Documents
12-21 marzo
XX Udine International Film Studies Conference
Whos 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/Hia filma, piazza Vittoria 41
Fondazione Cassa di Risparmio Gorizia, via Carducci 2
Polo Santa Chiara, via Santa Chiara 1
Post-cinema: Videogame/
Animation/Comics:
Alberto Brodesco (Universit
degli Studi di Trento),
Federico Giordano
(Universit per Stranieri di
Perugia), Ludovica Fales
(Universit degli Studi di
Udine), Pierre Chemartin,
Philippe Marion (GRAFICS,
Universit de Montral)
Proiezioni/Screenings:
Sergio Fant, Roy Menarini,
Andrea Mariani (Universit
degli Studi di Udine)
Premio Limina:
Sara Martin, Roy Menarini,
Mariapia Comand (Universit
degli Studi di Udine),
Valentina Re (Universit
Ca Foscari, Venezia)
Coordinamento
organizzativo/Organisation
coordinators:
Sara Martin, Federico Zecca
Organizzazione/Organisation:
Antonella Corsale,Sonia
De Marchi (ARES Area
relazioni esterne Universit
degli Studi di Udine),
Maurizio Pisani, Loris Nardin,
Daniela Fabrici (Dipartimento
di Storia e Tutela dei Beni
Culturali Universit degli
Studi di Udine), Alberto
Beltrame, Anna Bertolli,
Enrico Biasin, Alessandro
Bordina, Cristina Cristofoli,
Ufficio stampa/Press:
Volpe & Sain Comunicazione
Sito internet/Website:
OnLab
Direzione tecnica/
Technical direction:
Gianandrea Sasso (CREA,
Centro Ricerca Elaborazione
Audiovisivi - Gorizia
-Universit degli Studi
di Udine), Marco Comar
(CINEMANTICA, Universit
degli Studi di Udine), Mirco
Santi (La Camera Ottica,
Film and Video Restoration,
Gorizia -Universit degli
Studi di Udine)
Assistenza tecnica/
Technical assistance:
CLAV (Universit degli Studi
di Udine),Transmedia Spa
Impaginazione/Layout:
Marco De Anna (ARES
Area relazioni esterne,
Universit degli Studi di
Udine)
Traduzione testi di/
Translate text by:
Roberto Braga, Guido Scorza;
Ludovica Fales (Universit
degli Studi di Udine)
Indice/Contents
Testo/Text:
Whos 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 (Universit degli
Studi di Udine)
Coordinamento artistico/
Artistic coordinator:
Sergio Fant
Progetto/Project:
Whos What?Intellectual
Property in the Digital Era:
Alessandro Bordina, Sara
Martin, Roy Menarini,
Francesco Pitassio,
Leonardo Quaresima,
Simone Venturini, Federico
Zecca (Universit degli Studi
di Udine), Roberto Braga
(Universit di Bologna)
In collaborazione con/
In collaboration with:
ACE Association des
Cinmathques Europennes
and imitation during film history and within different national contexts? From American Biograph
trademark engraved on D.W. Griffiths 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.
Plagiarism and imitation. In which ways film narratives and styles have been preserved from plagiarism
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 + Universitt 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
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 copyrights
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 contents 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 years 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
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, whats 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
Interventi di saluto/
Greetings
Cristiana Compagno,
Magnifico Rettore
dellUniversit 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
(Universit 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
Andr Gaudreault
(Universit de Montral)
Le Relatif anonymat de
lenregistreur dopras lre
de lagora-tl
Vinzenz Hediger
(Goethe-Universitt
Frankfurt)
Rights as Incentives
Tom Paulus
(Universiteit Antwerpen)
Whose Motif Is It Anyway
Scnes faire and Authors
Rights During the Classical
Studio Era
Alexander Peukert
(Goethe-Universitt
Frankfurt)
The Digital Author
Discussione/Discussion
Presiede/Chair:
Leonardo Quaresima
(Universit 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
(Universit Laval, Qubec)
Finding the Law: The Case
of Copyright and Related
Rights Enforcement in the
Digital Era
Lucia Tralli
(Universit di Bologna)
Some Rights Granted.
Remixing Media - Online
Diffusion and Fair Use
Doctrine
Discussione/Discussion
Presiede/Chair:
Peter Decherney
(University of Pennsylvania)
Proiezioni/Screenings
Udine
Tuesday, March 12, 21.00
Cinema Visionario, via
Asquini 33, Udine
The We and The I
(Michel Gondry, 2012, 103)
Rechsteiner Emjay
(Eye Film Institute)
Of Orphans and Widow Works
Clara Darmon
(Universit Paris 3)
The Forms of Authors Right
Violation in Russia: The
Economic Transation and the
Redefinition of the Author
(1970-2010)
Discussione/Discussion
Pausa/Break
Caroline Renouard
(Universit de Paris-Est)
Restoration amateur - repack
de films rares: pour une
lgitimation de la cinphilie
pirate?
Mounia Bel-Afia
(Universit Paris 3)
Les Droits dauteurs
audiovisuels au pays des
tournages
Discussione/Discussion
Presiede/Chair:
Gianni Celata
(Universit di Roma
La Sapienza)
Pausa/Break
Discussione/Discussion
Presiede/Chair:
Rosanna Maule
(Concordia University,
Montral)
Anna Batistov
(Nrodn 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)
Le propriet intellettuali/
le libert 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
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
In collaborazione/
In collaboration with
MyMovies.it
1848
(Dino Risi, 1949, 11)
Presentati da/Presented by
Sergio Toffetti
(Archivio Nazionale del
Cinema dImpresa di Ivrea
- Centro Sperimentale di
Cinematografia)
Bis
(Paolo Brunatto, 1966, 20)
Il canto damore
di Alfred Prufrock
(Nico DAlessandria, 1967,
20)
Discussione/Discussion
Presiede/Chair:
Jane Gaines
(Columbia University)
Guglielmo Pescatore
(Universit di Bologna)
Piracy and Consumption of
Digital Goods
Marc Vernet
(Universit de Paris Diderot)
LAuteur et les procdures
lgales aux Etats-Unis entre
1913 et 1917
Valentina Re
(Universit 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,
(Universitt Zrich)
Media in China: The Creativity
of the Chinese Animation in
the Soft Power Era
Gianni Celata
(Universit 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 Velucek, Anja
Medved, 2002, 50)
My Lost Generation
(Vladimir Tomic, 2009, 31)
A Letter to Dad
(Srdan Keca, 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
Ale Doktorc,
Ludovica Fales
Evento Speciale/
Special Event
Post-Cinema: Videogame/
Animation/Comics
Polo Santa Chiara
Philippe Marion
(Universit de Louvain),
Comics and Desire
Gabriele Jutz
(Universitt fr angewandte
Kunst Wien)
The Sound of Technology
Enrico Camporesi
(Universit Paris 3)
Le Film ready-made. Pratique
dappropriation et valeur
dexposition partir de
Perfect Film (1986) de Ken
Jacobs
Jonathan Thonon
(Universit de Lige)
Le Remake dans lart
contemporain: carts et crans
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
(Universitt fr angewandte
Kunst Wien)
Marc Joly
(Universit de Montral)
Neoreligious Affect in the
Age of Digital Technology:
Cinephany and Cultural
Rapresentation
Coordinato da/
Coordinated by
Marco Benot Carbone
(University College
London), Carl Therrien
(Universit de Montral)
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 Earths
Center
(Rosa Barba, 2007, 16mm,
24)
The Long Road
(Rosa Barba, 2010, 35mm,
610)
The Hidden Conference:
About the Discontinuous
History of Things We See and
Dont 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
(Universit 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
(Universit degli Studi di
Pisa)
Films parcourir:
linstallation dans
quelques expriences
cinmatographiques rcentes.
Discussione/Discussion
Pausa/Break
Presiede/Chair:
Wanda Strauven
(Universiteit van
Amsterdam)
Artist Talk
Rosa Barba
Discussione/Discussion
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
(Universit degli Studi
di Napoli LOrientale)
Femininity and Male Desire in
Third-person Videogames
Coordinato da/
Coordinated by
Marco Benot Carbone
(University College London),
Carl Therrien
(Universit de Montral)
Reflex
(Mario Schifano, 1964, 16)
Decadimenti e riemersioni.
Il cinema pittorico di
Guglielmo Baldassini
(Selezione di filmati Path
Baby, 1926-1931 ca., 16mm
da 9,5mm, 35a 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 Dal
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
SKMP2
(Luca Patella, 1968, 30)
Da Bologna a Stalino.
Documentario sul viaggio
del convoglio n1
(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
Coordinato da/
Coordinated by
Paolo Vampa
(Vampa Productions),
Alessandro Bordina
(Universit degli Studi di
Udine)
Discussione/Discussion
Marco Bertozzi
(Universit IUAV di Venezia)
Evgenia Giannouri
(Universit Lille 3)
Gabriele Jutz
(Universitt fr angewandte
Kunst Wien)
Kim Knowles
(Aberystwyth University)
Annamaria Licciardello
(Centro Sperimentale di
Cinematografia)
Antonio Somaini
(Universit Paris 3)
Politics and Poetics
of Found Footage
Stefania Schibeci
(Universit degli Studi di
Genova)
Le Projet W. de Peter Forgcs:
physiognomonie raciale,
archive, remploi
Wanda Strauven
(Universiteit van Amsterdam)
Marco Senaldi
(Universit Paris 3 / IULM)
Repeat Your Concept.
Sturtevants Remake of
Warhols and Duchamps
Films Reconsidered
Coordinato da/
Coordinated by
Antonio Somaini
(Universit Paris 3)
Monise Nicodemos
(Universit Paris 3)
Histoire, posie et remploi
dimages dans La Rabbia.
Discussione/Discussion
Pausa/Break
Coordinato da/
Coordinated by
Antonio Somaini
(Universit Paris 3)
Antonio Somaini
(Universit 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 Avezz
(Universit 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
(Universit 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
(Universit 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
(Universit degli Studi di
Trento)
Proiezioni/Screening
A seguire/Following
Scotch Tape
(Jack Smith, 1959-1962,
16mm, 3)
Filmarilyn
(Paolo Gioli, 1992, 16mm,
1112)
Respectable Creatures
(Jack Smith, 1950s/1966,
16mm, 24)
Flaming Creatures
(Jack Smith, 1962-63,
16mm, 43)
Presentato da/Presented by
Marc Siegel
(Goethe-Universitt
Frankfurt)
Free
Clarissa Smith
(University of Sunderland)
The Breathless Jogger:
Legislating Extreme P*rn in
the UK
Feona Attwood
(Middlesex University,
London)
Never Mind the Bollocks:
British Porn Online
Rossella Catanese
(Universit di Roma
La Sapienza)
The Case of Ballet
Mcanique. A Repainted
Ballet and Its Copyright
Secrets
Naomi Rolef
(Goethe-Universitt
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
(Universit degli Studi di
Udine)
Anna Span
(director)
Directors 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, 830)
I Was Called Kuny-Lemel
(Roe Rosen, 2007, 4)
Hilarious
(Roe Rosen, 2010, 21)
Tse
(Roe Rosen, 2010, 3430)
Presentato da/Presented by
Roe Rosen
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,
4545)
Presentato da/Presented by
Hermann Asselberghs
Coordinato da/
Coordinated by
John Mercer (Birmingham
Centre for Media and
Cultural Research)
Proiezioni/Screenings
Cinema italiano
contemporaneo
Coordinato da/
Coordinated by
Sergio Fant, Roy Menarini
Discussione/Discussion
Presiede/Chair:
Jan Diestelmeyer
(Fachhochschule Potsdam
- EMW, FH / Universitt
Potsdam)
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)
Proiezioni/Screenings
Gorizia
Le propriet intellettuali/
le libert intellettuali
Binding Memories
Verso la vita
(Dino Risi, 1946, 12)
Moja Meja
(Nadja Velucek, 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 dImpresa di Ivrea
- Centro Sperimentale di
Cinematografia)
Unopera non di un autore e
neppure la vita lo : Carmelo Bene
Bis
(Paolo Brunatto, 1966, 20)
Il canto damore
di Alfred Prufrock
(Nico DAlessandria, 1967, 20)
Hermitage
(Carmelo Bene, 1967, 26)
Presentati da/Presented by
Emiliano Morreale
(Centro Sperimentale di
Cinematografia - Cineteca
Nazionale)
My Lost Generation
(Vladimir Tomic, 2009, 31)
A Letter to Dad
(Srdan Keca, 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
Ale Doktorc,
Ludovica Fales
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 n1
(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 Path
Baby, 1926-1931 ca., 16mm
da 9,5mm, 35a 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 Dal
Organizzato da/Organized
by La Camera Ottica - Home
Movies Archivio Nazionale
del Film di Famiglia
Respectable Creatures
(Jack Smith, 1950s/1966,
16mm, 24)
Filmarilyn (1992),
(Paolo Gioli, 16mm, 1112)
Flaming Creatures
(Jack Smith, 1962-63, 16mm,
43)
Presentato da/Presented by
Marc Siegel
(Goethe-Universitt
Frankfurt
Gorizia, Screenings
Gorizia, Screenings
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,
4545)
Presentato da/Presented by
Hermann Asselberghs
CineGraph, Hamburg
CineFest, Hamburg
Fachochschule Postdam
Universitt Potsdam
Media partner:
Comune di Udine
Provincia di Udine
Comune di Gorizia
Provincia di Gorizia
http://www.filmforumfestival.it/