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Il Cinema E Le Altre Arti 11 CINERGIE Il Cinema E Le Altre Arti 11

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Il Cinema E Le Altre Arti 11 CINERGIE Il Cinema E Le Altre Arti 11 CINERGIE il cinema e le altre arti 11 CINERGIE il cinema e le altre arti 11 INDICE pag. 04 ABSTRACT pag. 09 Editoriale di Roy Menarini SPECIALE pag. 10 Introduzione di Luca Malavasi pag. 13 Ex-cinema: “Ci devono essere delle macerie specifi che per costruire la città dell’impossibile”. Note su Eureka di Ernie Gehr di Rinaldo Censi pag. 19 Montare cacca: Intorno al fenomeno “YouTube Poop” di Alberto Brodesco pag. 30 La nuova Digital Guerrilla Television: per una post-produzione militante e d’autore di Elena Marcheschi pag. 39 Ripetizione e ri-produzione nelle GIF animate di Tommaso Isabella pag. 45 L’internet-meme nella galassia della postproduzione contemporanea di Sara Tongiani pag. 57 Truccare la storia: la colorizzazione digitale delle foto d’archivio del Colorized History Movement di Elena Gipponi pag. 66 Immagini fl uttuanti: operazioni estetiche e itinerari nell’immateriale visivo digitale di Serena Dafne Magnani pag. 75 “Accidental” Postproduction and Acts of Remembering in Stand By For Tape Back-up, by Ross Sutherland di Chiara Grizzaffi pag. 82 Immagine eri, immagine tornerai: pratiche di appropriazione e postproduzione nella cosplay photography di Giacomo Calorio pag. 92 Un atto iconico di rappresentanza: i video-testamenti degli shahid qaidisti di Lorenzo Donghi SOTTO ANALISI pag. 98 Super Size Stories. Narrative Strategies in Contemporary TV Series di Enrico Bandirali e Luca Terrone pag. 111 “Far Away Places”: forme del melodramma tra Mad Men, Todd Haynes e Douglas Sirk di Valentina Re Cinergie, il cinema e le altre arti2 Cinergie uscita n°11 giugno 2017 | ISSN 2280-9481 CINERGIE il cinema e le altre arti 11 INDICE ART AND MEDIA FILES pag. 129 Diff usioni e visioni di Federico Biggio ORIENTI OCCIDENTI pag. 135 Spettri nucleari. Sulla memoria di Hiroshima in alcuni J-Horror alle soglie del Duemila di Giuseppe Previtali CRITICA CINEFILIA E FESTIVAL STUDIES pag. 145 Per una logica della citazione, per un’estetica della nostalgia. Il caso Stranger Things di Lorenzo Cascelli RECENSIONI pag. 163 Il cinema della sensazione. Il cinema e l’estetica dell’intensità di Paolo Bertetto (Mimesis, 2016), di Massimiliano Coviello pag. 165 FAScinA 2016: connessioni e genealogie di Maria Federica Piana e Alessandra Porcu pag. 167 FAScinA 2016: relazioni e sorellanze di Valentina Orlando e Roberta Verde pag. 169 67° Berlinale – Internationale Filmfestspiele Berlin 2017 Lunga vita agli autori! di Leonardo Quaresima pag. 173 BIOGRAFIE Cinergie, il cinema e le altre arti3 Cinergie uscita n°11 giugno 2017 | ISSN 2280-9481 CINERGIE il cinema e le altre arti 11 ABSTRACT SPECIALE Ex-cinema: “Ci devono essere delle macerie specifi che per costruire la città dell’impossibile”. Note su Eureka di Ernie Gehr di Rinaldo Censi One of the peculiar characters of hyperrealism can be seen in the tension that emerges from the transmission of data belonging to two channels of communication: photography-painting. As Lawrence Alloway stated in a text called “Photo-realism”, the hyperrealist artists paint in fact a double image: «The painting carries a reference to another channel of communication as well as to the depicted scene or object. The reality of photographs, however, is not the reality of slow, hand-done paintings, so that the realism of the subject matter is defi nitely called in doubt. It is as if the subject matter of, say, Eddy’s picture is not a Volkswagen but a photograph of a Volkswagen. The photograph corresponds to the car as we know it, but the painting corresponds as much to the photograph as to the car; it is, perhaps, the photograph that functions as the primary reference». The fact that each fi lm carries the trace of its photographic matrix makes certain hyperrealist traits quite obvious. But is it possible that cinema allows a further hyperrealism, on a second degree? And has all this something to do with postproduction and ready-made? Montare cacca: Intorno al fenomeno “YouTube Poop” di Alberto Brodesco The genre “YouTube Poop” (YTP) collects a rather extensive mass of videos that recycle and elaborate, through peculiar editing techniques, specifi c audiovisual content, generally derived from poor, discredited or “wretched” media texts. The YTP is a particularly interesting phenomenon within the mash-up or remix culture, capable as it is of combining media criticism, subcultural immersion and skills in digital manipulation. On the one hand, the ease of the game is disarming: poopers just download videos from YouTube, re-edit them (even with non-professional software) following what are more or less the rules (or styles) of the genre and ultimately upload them to YouTube. On the other hand, the YTP represents instead a rather complex case, a rare form of cultural production which is not fully integrable or assimilable within the post-cinematic digital spaces – a sort of challenge or revolt launched against YouTube and the surrounding mediasphere. La nuova Digital Guerrilla Television: per una post-produzione militante e d’autore di Elena Marcheschi During the 1960’s, the invention of portable video technology was accepted as the most suitable medium to support the development of a cultural and political counter-information that was embodied by the various movements and protagonists of the so-called Guerrilla Television. With diff erent approaches, today we are still facing a similar trend based on the appropriation and elaboration of contents proposed by the various mass media, in order to highlight the eff ect of media saturation and manipulation we are subjected to. The mixing and revision attitudes of digital technologies are currently helping the artists in productions often based on the dismantlement and re-editing of mass media contents. The aim is that of setting up observation points to create works swinging between questioning and denunciation. The analysis of works by authors such as Jean-Gabriel Périot, Canecavolto, Johan Söderberg and John Callaghan, with diff erent languages and perspectives, let us think of a new Digital Guerrilla Television. Cinergie, il cinema e le altre arti4 Cinergie uscita n°11 giugno 2017 | ISSN 2280-9481 CINERGIE il cinema e le altre arti 11 ABSTRACT Ripetizione e ri-produzione nelle GIF animate di Tommaso Isabella The spread of animated GIFs over the last decade has made them not only one of the most popular digital formats for moving images on the web, but also a signifi cant locus for the remediation of cinematic contents. The paper focuses on GIFs grabbed from fi lms, considering the dialectics between linearity and circularity involved in their creation as well as the pragmatic reformulations entailed by the act of sharing. The peculiarities of the production and distribution of GIFs off er and understanding of their liminal status between appropriation and re-creation, which is exemplifi ed by the analysis of the collecting strategies adopted by two pioneering Tumblr blogs dedicated to cinematic GIFs, Three Frames and If We Don’t Remember Me. L’internet-meme nella galassia della postproduzione contemporanea di Sara Tongiani The internet-memes represent nowadays a new global phenomenon, which increase the ability to produce, copy, and share digital contents, featuring images and textes. Starting from stereotyped models, users create their own internet-memes, in which international, cultural, and sport events, with global or local references, are remixed. This paper focuses on the possibility of these postmodern artifacts to transmit a message to a large web community audience. The message is often a joke, which reveals the functioning of contemporary communication practices. Finally, the analysis of the internet-meme’s production of the Championship Euro 2016 explores the users’ intention to blacken their heros, the soccerplayers. In this case, the joke becames a denigration, a rhetorical and iconic violence, similar to the René Girard’s theories on the scapegoat mechanism. Truccare la storia: la colorizzazione digitale delle foto d’archivio del Colorized History Movement di Elena Gipponi Due to technological constraints and deeply rooted cultural conventions, black and white has long been the stylistic mark of still and moving documentary images, especially of the offi cial ones. This article focuses on a particular act of postproduction which alters the chromatic look of black and white historical photographs: the images retouched by the so-called Colorized History Movement, an online community of professional graphic designers and self-defi ned “amateur historians” who submit to a meticulous digital colorization process black and white photographs coming from diff erent archives— but especially from the Library of Congress. The artifi cial colour, added at a later date for cosmetic eff ect on the originally achromatic surface, becomes here a way to reuse and re-write the visual culture of the XX and XXI centuries. Through the analysis of a corpus of colorized images, the essay reconstructs the production and reception contexts of these images, the purposes that move the authors of this practice and the feedbacks and comments of the users. Cinergie, il cinema e le altre arti5 Cinergie uscita n°11 giugno 2017 | ISSN 2280-9481 CINERGIE il cinema e le altre arti 11 ABSTRACT Immagini fl uttuanti: operazioni estetiche e itinerari nell’immateriale visivo digitale di Serena Magnani The World Wide Web - with its apparently democratization of culture as well as the creative process behind it - has completely changed the way of defi ning the concept of authorship and critical fruition of the Image. The Online Community is simultaneously agent and audience of a growing digital imagery archive which is challenging the artists to fi nd new ways of imposing themselves into the fl ow of images. This essay analyzes some of the most signifi cant artistic elaborations appeared in the last ten years that approach the WWW as a digital “objet trouvé” in the framework of Internet Aware Art, as proposed by the defi nition of Guthrie Lonergan.
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