Francesco Zucconi
Francesco is Associate Professor at the IUAV University of Venice, Membre associé at the Centre d’Histoire et de Théorie des Arts, École des Hautes Études en Sciences Sociales (EHESS) in Paris, and Fellow at the Institut Convergences Migrations (CNRS, Ined, Inserm, IRD, Collège de France, EPHE, Paris 1 - Pantéon-Sorbonne).
He has been a Marie Skłodowska-Curie Fellow at the EHESS in Paris (2015-17), a Lauro de Bosis Fellow at Harvard (2017-18), and a Fulbright Distinguished Professor at the University of Chicago (2023-24).
Address: Dorsoduro 2206, 30123 Venezia, Italia
He has been a Marie Skłodowska-Curie Fellow at the EHESS in Paris (2015-17), a Lauro de Bosis Fellow at Harvard (2017-18), and a Fulbright Distinguished Professor at the University of Chicago (2023-24).
Address: Dorsoduro 2206, 30123 Venezia, Italia
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Questo libro fa i conti con il carattere peculiare della filmografia di Larraín: non tanto un cinema storico quanto una riflessione teorica sul potere. Se solo in pochi lo esercitano, tutti si trovano presi nella sua trama.
monuments clearly bearing a Fascist imprint but also via the persistence of Fascist-era values and political rhetoric which has continued, in a more or less explicit way, throughout the republican period, despite anti-Fascist principles being deeply rooted in the Italian constitution and its society and culture. The arts have long reflected this difficult Fascist legacy and suspended memory of a phenomenon that left a traumatic mark on twentieth century Italian and European history. This volume constitutes a first analytical and comparative attempt to analyse the artistic work which has cast a critical eye – in the visual arts and film, theatre, performance art and literature – on this inconvenient past from the post-war period to the present day. It is work of art as site of a theoretical re-working of traumatic memory, the co-presence of different historical times, the “concretion” of certain obsessively repeated symbols and an incessant reappearance of Fascism’s semantic and ideological sphere – and its imperial colonialism – as a transcendental rather than historical object.
Sguardi incrociati è fin dal titolo un libro che parla di un altro libro, riprendendo le riflessioni che Marco Dinoi, docente di “Teorie e tecniche del linguaggio cinematografico” e “Metodologia della critica cinematografica” presso l’Università di Siena, ha raccolto nelle pagine di Lo sguardo e l’evento. I media, la memoria, il cinema, pubblicato postumo nella primavera del 2008.
A partire dallo studio condotto da Dinoi su una delle sequenze televisive più traumatiche del nostro tempo, quella del crollo delle Twin Towers l’11 settembre 2001, i saggi che compongono questo volume trattano di teoria dell’immagine e di analisi del film senza smettere di confrontarsi con le domande dell’etica e della politica: «in che modo l’immagine offre e affida a chi la guarda il ruolo di testimone? A quali condizioni si dà come traccia, reperto, oggetto di archivio, funzione della memoria?».
Questo libro fa i conti con il carattere peculiare della filmografia di Larraín: non tanto un cinema storico quanto una riflessione teorica sul potere. Se solo in pochi lo esercitano, tutti si trovano presi nella sua trama.
monuments clearly bearing a Fascist imprint but also via the persistence of Fascist-era values and political rhetoric which has continued, in a more or less explicit way, throughout the republican period, despite anti-Fascist principles being deeply rooted in the Italian constitution and its society and culture. The arts have long reflected this difficult Fascist legacy and suspended memory of a phenomenon that left a traumatic mark on twentieth century Italian and European history. This volume constitutes a first analytical and comparative attempt to analyse the artistic work which has cast a critical eye – in the visual arts and film, theatre, performance art and literature – on this inconvenient past from the post-war period to the present day. It is work of art as site of a theoretical re-working of traumatic memory, the co-presence of different historical times, the “concretion” of certain obsessively repeated symbols and an incessant reappearance of Fascism’s semantic and ideological sphere – and its imperial colonialism – as a transcendental rather than historical object.
Sguardi incrociati è fin dal titolo un libro che parla di un altro libro, riprendendo le riflessioni che Marco Dinoi, docente di “Teorie e tecniche del linguaggio cinematografico” e “Metodologia della critica cinematografica” presso l’Università di Siena, ha raccolto nelle pagine di Lo sguardo e l’evento. I media, la memoria, il cinema, pubblicato postumo nella primavera del 2008.
A partire dallo studio condotto da Dinoi su una delle sequenze televisive più traumatiche del nostro tempo, quella del crollo delle Twin Towers l’11 settembre 2001, i saggi che compongono questo volume trattano di teoria dell’immagine e di analisi del film senza smettere di confrontarsi con le domande dell’etica e della politica: «in che modo l’immagine offre e affida a chi la guarda il ruolo di testimone? A quali condizioni si dà come traccia, reperto, oggetto di archivio, funzione della memoria?».
After a brief historical and theoretical introduction to the practice of domestic pictures, this paper reflects on the phenomenon of aesthetic regeneration of these materials within the found footage cinema.
What happens when an artist or a filmmaker finds and retrieves films kept in the family archives and decides to turn it into a narrative montage? How does the tran- sition take place from the private dimension of domestic happenings to the public dimension of cinema? What is involved in this passage between the two different discursive fields?
Through analysis of the film For One More Hour With You (Un’ora sola ti vorrei, 2002), by Italian director Alina Marazzi, we set out to reflect on the types of ‘recy- cling’ and ‘survival’ of family pictures within an artistic environment. The aim is to highlight the capacity of found footage film to investigate, analyze and present to the spectator ‘domestic visual culture’, or rather, the field of family and social tension immortalized within a few feet of film.
autore dell’introduzione.
Humanities Program with the Film and Media Studies Program
Yale University
Politics of Perspective in the Age of Post-Truth
19 giugno 2019
ore 10
Palazzo Badoer, aula C1
San Polo 2468 Venezia
A seminar in collaboration with Research Pavilion #3, an ongoing project created and hosted by Uniarts Helsinki, with:
Emmanuel Alloa
St. Gallen / Fribourg
Francesco Zucconi
Università Iuav di Venezia
discussants
Francesco Bergamo and Angela Mengoni (Iuav), the members of the research cell “Through Phenomena Themselves” - Research Pavilion #
“It’s all a matter of viewpoints”.
In the Age of Post-Truth and of ‘alternative facts’, the argument of plurality often serves to justify the vilest individual relativism and the rule of brute force.
Is there an ‘objectivity’ in perspectivism, in spite of all? An answer to this question could be found in the artistic practices of perspectival representation, and in the tradition of optics known as perspectiva communis which ranges all the way through Nietzsche. Insisting on situated knowledge could be the only viable response today against the denial of reality. By introducing and comparing different theoretical moves that can be made with regard to the issue of perspectivalness (phenomenology, developmental psychology, literature and contemporary anthropology), the workshop will analyze three modalities where alternative takes on reality coexist: the coexistence of time, the coexistence of species and the coexistence of beings.
[Emmanuel Alloa]
In 2015, the United Nation inaugurated their Virtual Reality Project on the precarious conditions in some of the Global Southern countries, with the ambition of making the spectator “step into the frame and feel what it’s like for the individuals on the ground”. Beyond the promotional slogans chosen to launch these projects, it is necessary to investigate how the humanitarian ‘immersive’ virtual experience is constructed. What strategies are put into effect so as to produce an empathic point of view? And at what points does the illusion of continuity between the “here” and the “elsewhere” get interrupted? By proceeding along a preposterous, anachronistic path, a comparison is drawn between VR cinema, the model of the Albertian window, and the Baroque tradition of “candlelit painting”. In developing this cross-analysis, a few answers are suggested to the main questions regarding virtual reality as a space for aesthetic, ethical, and political experimentation.
[Francesco Zucconi]