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Cinéma & Cie. Film and Media Studies Journal
Cinema and Contemporary Visual Arts II (Gradisca d'Isonzo, March 23-30, 2007): V MAGIS - Gradisca Film Studies Spring School
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Projects & Abstracts
2006-10-01
2023-10-10
2006-10-01
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Cinéma & Cie
2006/10/01
2036-461X
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Cinema and Contemporary Visual Arts II (Gradisca d'Isonzo, March 23-30, 2007): V MAGIS - Gradisca Film Studies Spring School
https://riviste.unimi.it/index.php/cinemaetcie/article/download/21413/19013
6
 CINEMA AND CONTEMPORARY VISUAL ARTS I

V MAGIS - GRADISCA INTERNATIONAL FILM STUDIES S
 Gradisca disonzo, March 23-30. 2007




                                                         Afice the medium: redefining theone
                                                                   "The messags is the mess



  Asa natural prosecution of the IV cdition, which took place in Gradisca
 March 3s to April 9, 2006, the V MAGIS Spring School, organized in collaboration with
 the Université de Paris Ill and the usual network of partners (the universitics of
 Amsterdam, Bochum, Bremen, Praguc, Valencia, Lugano, Milano Cattolica, Pisa and
 CineGraph/lamburg), proposes to continue the scientific debate on the relationships
 between cinema and other contemporary visual art forms, with the intention of con
 tributing to the development of an International Master Degree dedicated to contem
 porary visual culture and to the training of experts and theorists in the field of audiovi
 sual media.
   Whercas the activitics of the last edition were particularly concentrated on mapping and
 defining a scries of artistic practices which try to contestualize cinema in a range of new
 expressive modalitics (performances, interactive installations, software art and mixed
 media) and in a varicty of real and virtual exhibiting spaces (muscums, galleries, websites),
 the V Spring School plans to devote itself also to the analysis, discussion and redefinition
 of the key concepts and theories, which have thought about the evolution of the filmic
 image outside the traditional consumption and distribution contexts. To be sure, we wish
 to devote our seminar to the following kcywords: opticality, hapticality, rhizome, interval,
 figure, entre-image, postmediality, remediation, premediation, transmediality.
   in other worlds, arcas of interest we propose to investigate are:

• The relationships between cinema and museum, and between cinema and new exhi
  bition spaces
. The concept of transmediality of audiovisual forms in contemporary artistic works
• The theory and application of strategies of remediation for film in different media
• The postmedia condition of the filmic image
• Textual analysis and figural analysis of film and audiovisual
• The conception of expanded cinema in the era of network art
• Audiovisual contemporary art as space of premediation of the real.

 Critical Editions of Films and New Digital Techniques
  During the V MAGIS Gradisca Film Studies Spring School, a section will be dedica
 to the issue of film critical editions.

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                                                              CINEMA & Cie, no. 8, Fall 2006
  Besides a definition of critical edition based on closeness to the original source, it is
possible to envision a critical edition as a work-in-progress meant to deliver an other-
wise lost text. This work-in-progress type of critical edition can also be called an "open
text" in the sense that every reader/viewer, through the tools (generally labeled as "crit-
¡cal apparatus") offered by the critic/editor, can repeat, re-evaluate and even revise a
whole philological itinerary. This kind of edition is, therefore, a process and a product,
a method and a goal, a work and a concrete object.
  Our contemporary age is characterized by a strong destabilization of the filmic text's
canonical status. Despite the notion of an allegedly single text, more and more versions
and cditions are available, not to mention all the changes that have taken place in the
arcas of production, distribution, exhibition, reception, and consumption. In the wake
ofthe digital revolution, even film-making has changed along with the gradual disap-
pearance of certain techniques of reproduction. Thus, the philological labor of the crit-
ical edition has taken on a different value, by opening itself up to a more flexible under-
standing of textual production. It is time to reassess: what is a critical edition? Its func-
tion? Its methods? Its goals? Its limits? Its intellectual history? By trying to deal with
these questions, we would like to propose a general orientation and not a definitive
method. For instance, no matter which kind of critical edition are we dealing with, the
subjective interpretation is always involved.
   The problems we propose to investigate are:

• Critical editions in DVD
• Critical and Documentary Editions
• Digital Critical Apparatus
• Philology, Products, Digital Processes
- Critical Edition/Public


 Deadline for paper proposals: November 6, 2006



 For further information and contacts:
 Dipartimento di Storia e Tutela dei Beni Culturali
 Università degli Studi di Udine
 Via Petracco 8
 33100 Udine (Italy)
 fax: +39/0432/556644 or +39/0432/556789
 e-mail: udineconference@gmail.com
 www.damsweb.it/udineconference/




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