Cinema and Contemporary Art
Book series edited by Simone Dotto, Vincenzo Estremo and Francesco Federici

Scientific committee
Leonardo Quaresima (Università degli Studi di Udine), Philippe Dubois (Université Sorbonne Nouvelle – Paris 3), Sandra Lischi (Università di Pisa), Julia Noordegraf (Universiteit van Amsterdam), Cosetta Saba (Università degli Studi di Udine), Antonio Somaini (Université Sorbonne Nouvelle – Paris 3), Wanda Strauven (Universiteit van Amsterdam), Catherine Russell (Concordia University).

Cinema and Contemporary Art

Montages. Assembling as a Form and Symptom in Contemporary Arts


Montage, today, is a widespread procedure that doesn’t concern just artistic production, but also our daily lives and the use everyone makes of that huge visual archive that contemporary media place at our disposal. In a technologically advanced society, where the notion of postproduction regulates our relationship with images and objects, it is therefore necessary to thoroughly investigate the role, possibilities, and, most of all, anthropological and political connotations of montage; and to ask ourselves whether – in comparison to the heroic years of the avant-garde movements – montage has... Read more →

Extended Temporalities. Transient Visions in the Museum and in Art

This book contains a series of reflections on the theme of temporalities in cinema in the world of art. They do so interweaving various paths, and various structures, in order to arrive at different destination points. Which temporalities, one may wonder. On the boundary between cinema and contemporary art, where boundaries actually no longer exist, the idea of temporality is affected by paths opened up in historical moments which are actually so recent as to be simply in front of our eyes. Video, for example, derived from television, has since... Read more →

Cinema and Art as Archive

As Jacques Derrida wrote in 1995, while considering Archive Fever, nothing is less reliable or less clear today than the word “archive”. Nevertheless, the historic-cultural dimension of the contemporary discursive practices in cinema and art develops in the semantic openendedness of the term, in the repositioning of the idea of archive.

Paolo Gioli: The Man Without A Movie Camera

In a historical moment when cinema is definitively abandoning analogue production and reception modalities, the cinematographic work of Paolo Gioli occupies an important and meaningful place in the academic and artistic debate related to the present and future position of cinema and media art in the digital era. For this reason, the Film Forum Festival decided to organize a one-day seminar in Gorizia on 17th March 2013 in order to analyze and discuss the artistic production of this Italian artist. This book records and expands topics and reflections developed by... Read more →

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