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Cinéma & Cie. Film and Media Studies Journal
Università degli Studi di Udine: Research Programs
Text.Serial.Journal
https://riviste.unimi.it/index.php/cinemaetcie
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Projects & Abstracts
2006-10-01
2023-10-10
2006-10-01
2024-02-14
Cinéma & Cie
2006/10/01
2036-461X
8
en
Università degli Studi di Udine: Research Programs
https://riviste.unimi.it/index.php/cinemaetcie/article/download/21411/19011
6
                                                             UNIVERSITÀ DEGLI STUDI DI UDINE


UNIVERSITÀ DEGLI STUDI DI UDINE
RESEARCH PROGRAMS




Film Writing - Screenwriting and Film Criticism

  The rescarch group focuses on the written dimension of filmmaking and film criticism.
The group works on screenplay analysis, film analysis, forms of filmic interpretation and
evaluation, as well as textual and extra-textual readings of Italian and European movies.
   The Centro Studi Amidei (www.centrostudiamidei.org) is a collection where many
Italian screenplays and rare materials about Sergio Amide's work are conserved.
   The new born Masters in Film Writing: Screenwriting and Film Criticism trains profes-
sionals in the field of Screenwriting and Film Criticism. Started in 2005-2006, the Masters
program focuses on screenplay techniques (dialogue, scene, sequence, and narrative
structure, symbolic and metaphoric issues, characters, actions) and critical, creative writ
ing on film (short and long reviews, articles, papers, film analysises, film journalism).
Directors, screenwriters, producers, critics, journalists and professors in film history and
media analysis are part of the Masters program teaching staff. At the end of the year, the
best students are asked to collaborate with established screenwriters on their new film
projects, to publish their articles in official reviews and work with distribution and pro-
duction companies, pay tv and cable-tv channels and multimedia corporations.
   In terms of scientific research, the Masters program provides many opportunities to
create stronger links between professors, researchers and artists.
   The Masters program 2005-2006 will publish one book on film criticism and one on
screenwriting (with unpublished materials, interviews, film analyses that are the result
of teachers' and students' collaborative work). The objective is to find new writers for
the national film studies review Cinergie. Cinema and Other Arts, and to establish a col-
lection of original screenplays.
   In terms of future projects, the ultimate goal is to create national and international
links between screenwriting studies and screenplay history and analysis and to deepen
history of film criticism, the methodology of film interpretatio and creative writing.
   Cooperation with Premio Amide (a festival dedicated to screenwriters and Amide's
tradition of Italian cinema that takes place every July in Gorizia) is central to the
Masters program.

Research staff
 Mariapia Comand (Associate Professor/Director)
 Roy Menarini (Associate Professor)
  Alice Autelitano (Tutor)
  laria Borghese (Tutor)
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UNIVERSITÀ DEGLI STUDI DI UOINE



 Screenings and retrospectives
• Fabio Carpi (July 2002)
• Sergio Amidei (uly 2004)
• Pier Paolo Pasolini sceneggiatore (December 2004)
• Nelo Risi (May 2005)
• Film a episodi (July 2005)
• Esordi d'autore (July 2005/July 2006)
• Le passioni cinefile dei cineasti (July 2006)
• Gli scrittori-registi (July 2006)

 Seminars and lectures
• Pupi Avati (January 2002)
• Maurizio Nichetti (March 2002)
- Umberto Contarello (May 2002)
• Fabio Carpi (July 2002)
 - Anna Pavignano (January 2003)
• Bertrand Tavernier (July 2003)
- Ugo Pirro (November 2003)
• Ettore Scola (July 2004)
• Ken Loach (July 2004)
- Abbas Kiarostami (July 2005)
• Carlo Verdone (July 2005)
 - Giuseppe Piccioni (July 2006)
   •Alessandro D'Alatri (2006)


 Recent publications
   A. Autelitano, R. Menarini (eds.), Dentro la critica (Gorizia: Transmedia, in corso di
 stampa)
   1. Borghese, M. Comand, M.R. Fedrizzi (eds.), Sergio Amidei, sceneggiatore (Gorizia:
 Transmedia, 2004)
    M. Comand, "Il guardiano del faro." in B. Bartolomeo, F. Polato (eds.), Scrivere per il
  cinema (Pisa-Roma: Istituti editoriali e poligrafici internazionali, 2005)
    M. Comand (ed.), Sulla carta. Storia e storie della sceneggiatura in Italia (Torino:
  Lindau, 2006)
   M. Comand, "La matematica del mistero e l'impossibile geometria del caso: Paolo
  Sorrentino narratore," in V. Zagarrio (ed.), La meglio gioventù. Nuovo Cinema Italiano
  2000-2006 (Venezia: Marsilio, 2006)
   Mariapia Comand, "Lacrime italiane," in O. Caldiron (ed.). Storia del cinema italiano-
  1934/1939 (Venezia-Roma: Edizioni di Bianco & Nero-Marsilio, 2006)
   M. Comand, R. Menarini, Cinema europeo (Roma-Bari: Laterza, 2006)
   R. Menarini (ed.), Il cinema secondo Cosulich (Gorizia: Transmedia, 2005)
   Cinergie. Cinema and Other Arts, nos. 11, 12, 13 (2006-07)
   E. Pitassio, Ombre silenziose. Teoria dell'attore             cinematografico negli anni Ven
  (Udine: Campanotto, 2003)
    F. Pitassio, "Il cinematografo finale di Bohusek," in Annalisa Cosentino (ed.), Intorno
  a Bohumil Hrabal (Udine: Forum, 2006)


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                                                             UNIVERSITÀ DEGLI STUDI DI UDINE


Preservation, Philology, Restoration

  The research group operates at two different levels. The first level is theoretical inso-
far as it defines and proposes objects, tools and methods of film and audiovisual preser-
vation and restoration, through meetings, seminars, publishings, as well as training
and at the BA and MA levels. Since its foundation, the group has also worked on the
technological processes and on the ways to re- propose movies in the contemporary
moment - an effort that has produced a specific bibliographic collection. Moreover,
since 2003 the group has been conducting research on the analysis, preservation and
restoration of the monophonic optical soundtrack. The team promoted and organised
the International Project Multiple Language Versions (2003-2006), which was financed
by the European Committee. Thanks to the cooperation of international scholars and
institutions, as well as societies operating in the area, the team is currently focusing its
attention on the operating models of film critical editions.
   The second research level is an applied one, and concerns the activities of the restora-
tion laboratory La Camera Ottica, which is part of the degree course DAMS, Università
degli Studi di Udine, Gorizia. The laboratory was founded in 2001 with the double pur-
pose of training and scientific research.
   La Camera Ottica works using specialised technologies, both autonomously and in
cooperation with external institutions, mainly toward preservation and photochemical
restoration and in the digital preservation of sound and colour. In cooperation with the
laboratory CREA, which was constituted in 2000 as part of the activities of the degree
course DAMS, La Camera Ottica also operates in the digital restoration of video formats
(I*, 1/2*, 3/4*). Our collaborative activities, such as the art/tapes/22 Project (2004-2006).
have succeeded in the digital preservation of 210 video-art works of the ASAC collection
of the Biennale di Venezia.
   The research and production areas of the laboratory are listed below.

Identification, analysis and documentation of audiovisual materials
  This operational area concerns the methods and processes of film identification and
analysis. Every aspect of the filmic research is recorded in a database which assembles
information regarding extra-textual materials, photographic and videographic (i.e. dig-
itally recorded) documentation of the every state of the film as well as further opera-
tions of analysis and restoration. In terms of audiovisual preservation and restoration,
methodologies and techniques have been modelled with these specific purposes in
mind in order to define and study the specialised preservation process.

Digital restoration of the image
  The laboratory uses world leader hardware and software (i.e. Revival-Da Vinci, Final
Touch) in two main areas:
    Digital repair of the image - Problem solving connected with image alterations
    through the definition of the "chain" and through the ideal application of the algo-
     rhythm repair;
  - Reconstruction of film colour - From 2007 on, the laboratory will focus on a
     research project regarding the cultural, methodological and operational criteria
     needed to respond to film colour reconstruction.


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  UNIVERSITA DEGLI STUOI OI VOINE



  Digital preservation and restoration of film sound
   Through a detailed examination of formats and recording and reproduction systems
 of sound, the laboratory offers:
  • Supervision, coordination and cooperation in sound restoration projects;
  • Research and analysis of the sources related to the restoration projects;
  • Digital recording of magnetic and optical scores (16. 17.5 and 35 mm). through rack
      Sondor Oma-c;
  • Production of digital intermediates for the preservation of the audio signal;
  • Digital claboration of film sound.

 Restorations
  Starting in 2003, La Camera Ottica advanced the restoration of film and vidcographic
 collections such as La danza dei giocattoli (C. Campogalliani, 1931). Adunate escur.
 sionistiche e sportive dell'O.N.D. di Gorizia (1926-1930), art/tapes/22.
   In this arca, the laboratory also cooperated with film archives and institutions,
 including Cineteca del Comune di Bologna, Kinoatclic, La Biennale di Venezia -
 ASAC.


 Research staff
   The rescarch group members are Leonardo Quaresima (scientific coordinator).
 Simone Venturini (preservation and restoration projects), Gianandrea Sasso (technical
 coordinator). Alessandro Bordina (videopreservation), Giulio Bursi (philology).
 Francesca Chelu Diana (digital restoration), Silvio Celli (documentation).
   The team organizes the training for the MA in Film Preservation, Philology and
 Restoration, and has been based in Gorizia since 2003. Paolo Caneppele, Gian Luca
 Farinelli, Nicola Mazzanti, Davide Pozzi have also lectured at the MA program.

 Scientific projects, seminars and conferences
   The research group was part of the national research project "Technologies of
 Cinema, Technologies in Cinema" (2002-2004). It also look part in the scientific com-
 mittees of the Udine International Film Studies Conference and MAGIS-Gradisca Film
 Studies Spring School and promoted the project on Multiple-language Versions (2003-
 2006).
   In 2004, a training seminar was organised, entitled: "Preserving, Cataloguing and
 Revising an Italian Popular Cinema Collection". This same year the laboratory provided
 the film festival I Cinema Ritrovato (Bologna) with the restoration of La danza dei gio-
 cattoli e Momenti principali di un 'isterectomia addominale.
   In 2005, another seminar was organised in cooperation with Da Vinci and BlueGold:
  "Digital Restoration Techniques.'
   In 2006, a new seminar was prepared: "Sound Film Restoration: Protocols, Techniques
 and Methods."
   For the MAGIS-Gradisca Film Studies Spring School 2007 the research group will pre-
 pare a section on critical editions of film.

 Recent publications
  H.-M. Bock, S. Venturini (eds.), Ciéwa & Cie., no. 6, Multiple and Multiple-Language
 Versions I/Version multiples Il (Spring 2005)

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                                                            UNIVERSITÀ DEGLI STUDI DI UDINE


  A. Bordina, S. Venturini, "Preserving Video Art, a Work in Progress: art/tapes/22 collec-
tion of ASAC-La Biennale," CINéMA & Cie, no. 8, Cinéma et art contemporain (Fall
  S. Celli (ed.). Bianco e Nero, no. 547, I tesori del Luce (2003)
  S. Celli, "Luigi Chiarini al capezzale di Ballerine," Bianco & Nero, no. 553 (2005)
 F.C. Deiana, D. Pozzi, "Ricostruzione e restauro del più celebre film coloniale italiano
Cinegrafic, no. 17 (2004)
 F.C. Diana, D. Pozzi, "Combien de versions peut-il exister d'un film muet? Aperçu des
problèmes ct methodologie de la restauration des films muets," CINÉMA & Cie., no. 6,
Multiple and Multiple-Language Versions II/Version multiples II (Spring 2005)
  V. Innocenti (ed.), MLVs. Cinema and Other Media (Udine: Campanotto, 2006)
  L. Mazzci, L. Quaresima (cds.), Microteorie. Cinema muto italiano, Bianco e Nero, no.
550-551 (2004/2005)
  F. Pitassio, L. Quaresima (eds.), CINÉMA & CIE, no. 7, Multiple and Multiple-language
Versions III/Versions Multiples III (Fall 2005)
  L. Quarcsima, "La novelisation comme source d'analyse des films et du public," in J.
Gili, Y. Bessiere (eds.), Histoires de cinéma. Problématiques des sources (Paris:
INHA/AFRHC, 2004)
  S. Venturini, "La memoria dell'oggetto. La formazione universitaria e gli archivi del
cinema," Archivi per la storia, XVII, nos. 1-2 (2004)
  S. Venturini, "La danza dei giocattoli," in Catalogue of the XXIV Il Cinema Ritrovato
Festival (2004)
  S. Venturini, "Momenti principali di un'isterectomia addominale," in Catalogue of the
XXIV Il Cinema Ritrovato Festival (2004)
  S. Venturini, "Tecnologie, tecniche, test. Problematiche teoriche e metodologiche di
restauro del film sonoro italiano dei primi anni Trenta," in S. Bernardi (ed.), Svolte tec-
nologiche nel cinema italiano (Roma: Carocci, 2006)
  S. Venturini, Il restauro cinematografico. Principi, teorie, metodi (Udine:
Campanotto, 2006)


Cinema and Contemporary Visual Arts

  The multiplicity of mutual "crossings," trans-textual modalities, hybridization
processes (both technological and linguistic), and exhibition methods in cinema and
the contemporary visual arts is evident. But this evidence has been built on yet unre-
solved theoretical issues pertaining to aesthetics, semiotics, philology, sociology and
history - disciplines that produce discourses which leading to interdisciplinary
approaches that are set in motion by the complex interrelations between cinema and
the visual arts. In a cultural context marked by economic and political globalization, it
is not clear how to think about the role of art, how global transformations affect art his-
tory and philosophy, or how these changes contribute to the redefinition of art and its
different practices and theories.
   Moreover, we still have to think about the relation between art and media (on aes-
thetic, productive, and expository levels as well as according to new preservation and
restoration methodologies) and about the impact of technology on art, on the level of
both innovation and obsolescence.
   In addition to the problem of artistic languages and their comprehension, there are
                                                                                        255
other open issues concerning interpretation, analysis, philological competences and
plural historical approaches.
  The title of the research program Cinema and contemporary visual arts," reflects al
these unresolved questions insofar as the and underscores the problematic relation
ship- inclusion, exclusion, intersection - between the two areas.
  The ways in which the intersections between the cinema and the contemporas
visual arts are traced through the prevalent forms of experimental cinema, video an
and software art seem to demonstrate the manifestation of different categories, levels
and aspects: the material (rewritings): the quotational ones (cross-references, allu
sions, quotations, plagiarism); the enunciative (linguistic constructions): the migra
tory (passages of motifs, themes, figures); the hybridized (crcolization of artistic lan
guages).
 The program consists of four rescarch arcas, which focus on:
  -The shifts between experimental cinema and vidco art between the and of the todos
      and the early 197o5;
 - Technological obsolescence as artistic reinvention of media and as reflection on
      thetic theories of media;
• The effects of digital and conceptual de-matcrialization of artworks in the cra of net.
   worked workflows and broadband and invisible Internet connection;
 - The establishment of methodologies of non-narrative textual analysis and the prac
    tice of preservation and restoration.

 Some aspects of the research program coincide with the activities of the International
Ph.D. Program in Audiovisual Studies: Cinema, Visual Arts, Music and Communication,
and will comprise the topic of MAGIS-Gradisca Film Studies Spring School (2007).

 The dynamics of art system will be analyzed as a system at the levels of both produc-
tion and consumption. Analysis will take place with reference to the "market" (of
artists, galleries and collectors) as well as to the cultural role played by museums in
their practice of exhibiting, archiving, conserving, restoring and, above all, valorizing
artworks and texts as a topically pertinent sub specie tenologica.
 This last area of research has begun with case studies, done by the Professional Masters
Degree Program in Programming, Presentation and Preservation of Contemporary
Visual Arts at the Università degli Studi di Udine and by the Intensive Program in
Cinema and Museum in Europe. The project has been approved by the European
Community for the Socrates-Erasmus project 2003-2006.

Research staff
 Cosetta G. Saba (coordinator)
 Alessandro Bordina
 Cristiano Poian
 Laura Vichi

Recent publications
 L. Quaresima, "At the Museum and the Movies," CiNÉMA & CIE., no. 2 (Spring 2003)
 V. Re, Ai margini del film (Udine: Campanotto, 2006)
 CG. Saba, Carmelo Bene (Milano: Il Castoro, 2005)
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                                                        UNIVERSITÀ DEGLI STUDI DI UDINE



 C.G. Saba (ed.), Cinema Video Internet. Tecnologie e avanguardia in Italia dal
Futurismo alla Net.art (Bologna: Club, 2006)
 C.G. Saba (ed.). Catalogo art/tapes/22 (Venezia: Fondazione La Biennale di Venezia,
ASAC Archivio Storico delle Arti Visive Contemporanee, 2006)




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UNIVERSITA DEGLI STUOI DI UOINE



UNIVERSITÀ DEGLI STUDI DI UDINE
PH.O. THESIS - 2006-2007




2006
Autelitano, Alice, Cinema infranto. Forme della narrazione e intermedialiti nel film a
episodi italiano (196I-1977) (tutor L. Quarcsima)


Biasin, Enrico, Nazionalità immaginate: la cultura cinematografica italiana degli anni
 Trenta (1933-1939) (tutor R. Menarini)


 Borghese, Ilaria, Telefoni neri. Il cinema thrilling italiano tra gli anni Trenta e Quaranta
 e il suo rapporto con la letteratura di genere (tutor M. Comand)

 Calabria, Chiara, Politiche culturali e contesti locali (tutor A. Moretti)

 Poian, Cristiano, Software-cinema. La forma cinematografica nell'arte del software: tat-
 ticismo visivo, rimediazione, estetica del codice (tutor C. Saba)

 Venturini, Simone, Dal palinsesto all'edizione critica. Approcci teorici e metodologici a
 restauro del film: problemi filologici, storici, culturali e tecnologici (tutor N. Mazzanti)


 2007
 Bacchiega, Giorgio, Oltre la tradizione: le cineteche regionali e la memoria culturale.
 Processi di selezione, conservazione e valorizzazione delle immagini in movimento
  (tutor L. Quaresima)

  Bordina, Alessandro, Conservazione, preservazione e restauro della videoarte e delle
  installazioni video. Teorie, modelli decisionali e protocolli d'intervento (tutor C. Saba)

  Celli, Silvio, Gli operatori dell'Istituto Nazionale LU.C.E. e della S. A. Incom (Industrie
  Corti Metraggi) e la rappresentazione della guerra civile spagnola (I936-1939) (tutor L.
  Quaresima)

  Mantegazza, Valeria, Il festival cinematografico in Italia: contesto e pubblico (tutor M.
  Fanchi)

  Seppi, Massimo, La testimonianza filmica. L'uso dell'intervista nel documentario ita-
  liano dal dopoguerra a oggi (tutor L. Quaresima)

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                                                               CINEMA & Cie, no. 8, Fall 2006
