Books & Edited Volumes/Journal Issues by Miriam De Rosa
"Imago. Studi di cinema e media", n. 23, 2021
È vietata la traduzione, la memorizzazione elettronica, la riproduzione totale o parziale, con qu... more È vietata la traduzione, la memorizzazione elettronica, la riproduzione totale o parziale, con qualsiasi mezzo, compresa la fotocopia, anche ad uso interno o didattico. L'illecito sarà penalmente perseguibile a norma dell'art. 171 della Legge n.
Dominique Chateau, José Moure (eds.), Post-cinema, Amsterdam: Amsterdam University Press, 2020
Some filmmakers or artists decide to put art at the heart of their creation, applying not only th... more Some filmmakers or artists decide to put art at the heart of their creation, applying not only the relationship between cinema and art to their concept but also to various aspects of the process of creation. Miriam De Rosa addresses this kind of "art contemporary turn" by examining the different incursions of cinema from the point of view of the contemporary art space: "how the contemporary experience of moving images is articulated when it enters art spaces." The presence of film in this foreign space, transforming it into a different and personalized place, can be observed in recent exhibitions: Sleepwalkers ;
Edinburgh: Edinburgh University Press, 2020
Although film and media studies have widely engaged with the different aspects of social space, d... more Although film and media studies have widely engaged with the different aspects of social space, domestic space in film has rarely been studied in its multiple dimensions. Drawing on a broad range of theoretical disciplines – and with case studies of directors such as Chantal Akerman, Agnès Varda, Claire Denis, Todd Haynes, Amos Gitai, Martin Ritt, John Ford, Ila Bêka and Louise Lemoine – this book goes beyond the representational approach to the analysis of domestic space in cinema, in order to look at it as a dispositif.
Adopting this innovative two-fold approach that couples representation and dispositif, the home is studied as an architecture, as the place that embodies, defines and perpetuates the family history, as the milieu of gender and generational struggle, as well as the first site where manifestations of power unfold. All chapters contribute to explore, unpack the complexities and expand on the richness encapsulated in the notion of domesticity and dwelling in its fascinating relation to moving images.
Contributors include:
Anna Backman Rogers, University of Gothenburg
Stefano Baschiera, Queen’s University Belfast
Lukas Brašiškis, New York University
Beth Carroll, University of Southampton
Maud Ceuterick, University of Bergen
Miriam De Rosa, Coventry University
Bryan Konefsky, University of New Mexico
Adrian Martin, Monash University
Nerijus Milerius, Vilnius University
Victoria Pastor-González, Regent’s University London
Laura Rascaroli, University College Cork
John David Rhodes, University of Cambridge
Merrill Schleier, University of the Pacific
Iain Robert Smith, King’s College, London
NECSUS, 2019
The text opens a guest-edited issue of Necsus on gesture. Whilst it introduces the articles compr... more The text opens a guest-edited issue of Necsus on gesture. Whilst it introduces the articles comprised in the issue, it also draws on them and on the philosophy of gesture to propose a reflection on gesturality broadly conceived across different media.
The entire issue is available to read online Open Access.
Capitolo 1 ~ Il territorio del filmico nel contemporaneo Lo scenario e il problema Espansione e p... more Capitolo 1 ~ Il territorio del filmico nel contemporaneo Lo scenario e il problema Espansione e pertinenza del campo cinematografico: questioni metodologiche Cultural Studies Media Studies Visual Studies e Visual Culture L'approccio di analisi e le ipotesi di ricerca Capitolo 2 ~ Esperienza Hall of Fragments. Cinema, contemporaneità e dibattito sulla condizione postmediale Esperienza tout court ed esperienza filmica: eredità ed evoluzioni di una tradizione di studi Esperienza e soggetto Fenomenologia Esperienza ed evenemenzialità Esperienza e spazialità Dinamiche nello spazio, dinamiche dello spazio L'abitare Il design dello spazio L'arredare L'esperienza filmica Esperienza filmica e implicazioni teoriche Capitolo 3 ~ Nella città Urban Screens a Milano: una vetrina per lo Spazio-Immagine urbano Valenze dello schermo tra logica della scala e management dell'attenzione Display e connettività: la mediafacciata come interfaccia digitale tra locale e globale Per una fondazione dello S-I urbano 7 21 79 Capitolo 4 ~ Nel quotidiano Istanza filmica e routine: lo Spazio-Immagine del quotidiano Tra cartografie filmiche e racconto dinamico: The Organic City La mobilità tra produzione e fruizione filmica Forme della mobilità. La camminata come chiave di accesso al mondo, supporto allo storytelling e pratica di costruzione dell'esperienza Stratificazioni del quotidiano tra sitespecificity e connettività Capitolo 5 ~ Nell'arte Tra cinema e museo, uno Spazio-Immagine per l'arte Forme dello sguardo e spettatorialità. Modelli a confronto Soggetto e spazialità nello S-I dell'arte: Sensitive City
Research notes, CfP & Symposia by Miriam De Rosa
In this lecture I approach desktop cinema proposing a definition and a lineage that touches upon ... more In this lecture I approach desktop cinema proposing a definition and a lineage that touches upon the figure of the table and its digitized versions. To do so, I look at the intersection of exquisitely analog-inspired metaphors. as well as a full array of challenges posed by accelerated digitization, where new practices of creating, archiving and circulating moving images take shape.
In particular, I delve into tabletop performances analyzing Gautam Kansara's "Save as..." (2014) and I shift to computer environment offering a detailed description of Kevin B. Lee's "Transformer: The Premake" (2014). By way of a comparative reading of these two works, which are part of a wider catalogue of recent artworks, I argue they are exemplary of a process of reconfiguration of the screen. I focus the various kinds of screens these works are centered on, highlighting their surface and practiced nature: they are similar yet original spaces, where live or digitized gestures modify the orientation and the disposition of the composing elements of the artwork/film.
XIV. Symposium – Kieler Gesellschaft für Filmmusikforschung – CREMONA 19–22 MARCH 2019
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... more XIV. Symposium – Kieler Gesellschaft für Filmmusikforschung – CREMONA 19–22 MARCH 2019
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Sound design, film music and music editing in general exert a primary function in conveying senses of space and place in audiovisual media. Strategies for connoting space and place in film sound and music vary with cinematic practices across history and according to transnational patterns of negotiation between global and local modes of production. At the same time audiovisual communication, when rich in local connotations, allows insights into specific socio-historical contexts and the documentation of human geographies. This conference aims to bring together scholars interested in mapping geographies of music and sound practices in audiovisual media (e.g. film, television, video games, interactive art). We invite fresh perspectives on film music and sound that are willing to embrace aspects ranging from individual approaches to space and place to collective geographies, also considering industrial trends and intermedia connections. Cultural, ethnographic, historical, analytical, data-driven and aesthetic approaches are welcome, as well as research on industrial and commercial practices.
NECSUS European Journal of Media Studies, 2018
Call for Papers for the guest edited themed section of NECSUS, Autumn 2019 issue.
Articles, Book Chapters & Papers by Miriam De Rosa
"Imago. Studi di cinema e media", n. 23, 2021
È vietata la traduzione, la memorizzazione elettronica, la riproduzione totale o parziale, con qu... more È vietata la traduzione, la memorizzazione elettronica, la riproduzione totale o parziale, con qualsiasi mezzo, compresa la fotocopia, anche ad uso interno o didattico. L'illecito sarà penalmente perseguibile a norma dell'art. 171 della Legge n.
Dwelling the Open: Amos Gitai and the Home of Cinema
The chapter is included in the volume Media & The City Urbanism: Technology and Communication, ed... more The chapter is included in the volume Media & The City Urbanism: Technology and Communication, edited by Simone Tosoni, Matteo Tarantino and Chiara Giaccardi
(Cambridge Scholar, 2013: 168-182). It focuses on the collective digital project 'INSITU' by French filmmaker and media artist Antoine Viviani to draw upon the idea of a media-informed urban visual imagery.
in G. deCuir Jr. (ed.), On fragmentation. Alternative Film/Video Research Forum, 2012-2013, Belgrade: Student City Cultural Center, 2014: 28-33.
On the 17th of June 2005, Peter Greenaway set about his first VJ performance. It was the beginnin... more On the 17th of June 2005, Peter Greenaway set about his first VJ performance. It was the beginning of a worldwide live cinema tour, but mostly, it was the beginning of what later would have become the Lupercyclopedia.
Exposing the Moving Image: the Cinematic Medium across World Fairs, Art Museums, and Cultural Exhibitions, 2019
What do moving images do to museums? This text attempts an answer by looking Isaac Julien's Vagab... more What do moving images do to museums? This text attempts an answer by looking Isaac Julien's Vagabondia (2002) and Camille Henrot's Grosse Fatigue (2013). For Julien, a mirror reflects the image of collector, John Soanes, within numerous frames; for Henrot, desktop cinema techniques allow her to open infinite windows, creating an ever-retreating, increasingly miniaturised central image based on the collection of the Smithsonian Institute. This shared effect points to the attitude each artist takes to the museums they study, and to the relationship between the museum collection and its depiction via the moving image.
An analysis of on- and off-screen space is proposed here focussing on the mise-en-abyme effect characterising the creation and arrangement of moving images.
in A. Beltrame, G. Fidotta, A. Mariani (eds.), At the Borders of (Film) History. Temporality, Archaeology, Theories, Udine: Forum, 2015: 91-100.
Found Footage Magazine is an independent and printed film journal distributed worldwide. It offer... more Found Footage Magazine is an independent and printed film journal distributed worldwide. It offers theoretical, analytical and informative content that hinges on the use of archival images in media production practices.
FFM fills the void created by the fact that there has not been, up to this time, any forum for the collection and dissemination of information, critical thinking, and discussion of found footage cinema including all its manifestations: recycled cinema, essay film, collage film, compilation film, archival cinema, mash-up…
FFM accommodates a selection of articles and sections aimed at exploring issues of ethics, politics, form and content related to the culture of recycled cinema: monographs, interdisciplinary essays, interviews and opinion pieces concerning the eclectic universe of found footage filmmaking.
Collaborators Issue #3: Sergi Álvarez Riosalido, Paula Arantzazu Ruiz, Alejandro Bachmann, James Benning, Joseph Bernard, Michael Betancourt, Stephen Broomer, Antonin Charret, Jeroen Cluckers, Miriam De Rosa, David de Rozas, Anja Dornieden & Juan David González Monroy (Ojoboca), Thomas Draschan, Atom Egoyan, Siegfried A. Fruhauf, Yervant Gianikian & Angela Ricci Lucchi, Arine Kirstein Høgel, Kevin B. Lee, Matthew Levine, Manu Luksch, Scott MacDonald, Mukul Patel, Edwin Rostron, Nazare Soares, Makino Takashi, Ignacio Tamarit, Guillaume Vallée and Martin Zeilinger.
Notes on the multi-channel video-installation La vie abstraite (Galerie René Blouin, Montréal).
Theaters: Cinematic Vintage Magnified
Review of the exhibition 'Filmtheater' @Deutsches Filmmuseum in Frankfurt am Main (Novembre 2014 ... more Review of the exhibition 'Filmtheater' @Deutsches Filmmuseum in Frankfurt am Main (Novembre 2014 - May 2015), presenting the photographic series 'Theaters' by French photographers Yves Marchand & Romain Meffre.
The series is a visual meditation on the issue of obsolescence, vintage and the spaces of cinematic experience.
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Books & Edited Volumes/Journal Issues by Miriam De Rosa
Adopting this innovative two-fold approach that couples representation and dispositif, the home is studied as an architecture, as the place that embodies, defines and perpetuates the family history, as the milieu of gender and generational struggle, as well as the first site where manifestations of power unfold. All chapters contribute to explore, unpack the complexities and expand on the richness encapsulated in the notion of domesticity and dwelling in its fascinating relation to moving images.
Contributors include:
Anna Backman Rogers, University of Gothenburg
Stefano Baschiera, Queen’s University Belfast
Lukas Brašiškis, New York University
Beth Carroll, University of Southampton
Maud Ceuterick, University of Bergen
Miriam De Rosa, Coventry University
Bryan Konefsky, University of New Mexico
Adrian Martin, Monash University
Nerijus Milerius, Vilnius University
Victoria Pastor-González, Regent’s University London
Laura Rascaroli, University College Cork
John David Rhodes, University of Cambridge
Merrill Schleier, University of the Pacific
Iain Robert Smith, King’s College, London
The entire issue is available to read online Open Access.
Research notes, CfP & Symposia by Miriam De Rosa
In particular, I delve into tabletop performances analyzing Gautam Kansara's "Save as..." (2014) and I shift to computer environment offering a detailed description of Kevin B. Lee's "Transformer: The Premake" (2014). By way of a comparative reading of these two works, which are part of a wider catalogue of recent artworks, I argue they are exemplary of a process of reconfiguration of the screen. I focus the various kinds of screens these works are centered on, highlighting their surface and practiced nature: they are similar yet original spaces, where live or digitized gestures modify the orientation and the disposition of the composing elements of the artwork/film.
– – –
Sound design, film music and music editing in general exert a primary function in conveying senses of space and place in audiovisual media. Strategies for connoting space and place in film sound and music vary with cinematic practices across history and according to transnational patterns of negotiation between global and local modes of production. At the same time audiovisual communication, when rich in local connotations, allows insights into specific socio-historical contexts and the documentation of human geographies. This conference aims to bring together scholars interested in mapping geographies of music and sound practices in audiovisual media (e.g. film, television, video games, interactive art). We invite fresh perspectives on film music and sound that are willing to embrace aspects ranging from individual approaches to space and place to collective geographies, also considering industrial trends and intermedia connections. Cultural, ethnographic, historical, analytical, data-driven and aesthetic approaches are welcome, as well as research on industrial and commercial practices.
Articles, Book Chapters & Papers by Miriam De Rosa
(Cambridge Scholar, 2013: 168-182). It focuses on the collective digital project 'INSITU' by French filmmaker and media artist Antoine Viviani to draw upon the idea of a media-informed urban visual imagery.
An analysis of on- and off-screen space is proposed here focussing on the mise-en-abyme effect characterising the creation and arrangement of moving images.
FFM fills the void created by the fact that there has not been, up to this time, any forum for the collection and dissemination of information, critical thinking, and discussion of found footage cinema including all its manifestations: recycled cinema, essay film, collage film, compilation film, archival cinema, mash-up…
FFM accommodates a selection of articles and sections aimed at exploring issues of ethics, politics, form and content related to the culture of recycled cinema: monographs, interdisciplinary essays, interviews and opinion pieces concerning the eclectic universe of found footage filmmaking.
Collaborators Issue #3: Sergi Álvarez Riosalido, Paula Arantzazu Ruiz, Alejandro Bachmann, James Benning, Joseph Bernard, Michael Betancourt, Stephen Broomer, Antonin Charret, Jeroen Cluckers, Miriam De Rosa, David de Rozas, Anja Dornieden & Juan David González Monroy (Ojoboca), Thomas Draschan, Atom Egoyan, Siegfried A. Fruhauf, Yervant Gianikian & Angela Ricci Lucchi, Arine Kirstein Høgel, Kevin B. Lee, Matthew Levine, Manu Luksch, Scott MacDonald, Mukul Patel, Edwin Rostron, Nazare Soares, Makino Takashi, Ignacio Tamarit, Guillaume Vallée and Martin Zeilinger.
The series is a visual meditation on the issue of obsolescence, vintage and the spaces of cinematic experience.