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Cinéma & Cie. Film and Media Studies Journal
vol. II, no. 2, Spring 2003
Text.Serial.Journal
https://riviste.unimi.it/index.php/cinemaetcie
2
Table of Contents / Table des matières
2003-03-01
2021-10-01
2003-03-01
2024-02-14
Cinéma & Cie
2003/03/01
2036-461X
2
en
vol. II, no. 2, Spring 2003
https://riviste.unimi.it/index.php/cinemaetcie/article/download/16515/14573
2
CONTENTS




DEAD ENDS/IMPASSES
Edited by Leonardo Quaresima                                                  9

Introduction
[l.q.]                                                                       11

What Happened to Pantomime?
Ben Brewster                                                                15

The Art of “Speaking Silently”: The Debate around Cinema
 and Pantomime in the 1910s and 1920s
Elena Mosconi                                                                36

The Phantom of the Relationship, the Poverty of Cinema
 and the Excesses of Hypnosis
Ruggero Eugeni                                                              47

Cinema and Revelation: for Professional Eyes Only
Michael Barchet                                                              54

Tra fotografia e cinema: la tridimensionalità in Italia negli anni Trenta
Paola Valentini                                                              61

In Search of Expanded Cinema
Sandra Lischi                                                                82

At the Museum and the Movies
Leonardo Quaresima                                                          96

Enclosure: The Tactile Screen/Lo schermo tattile

NEW STUDIES                                                                 103
Visages du dedans
Raymond Bellour                                                             105
Cinematic Performance: between the Histrionic and the Quotidian
Lesley Stern                                                                    113

Approche de la réception par la triade “programmation - presse - censure”
Gianni Haver                                                                    122

Opposite or Complementary Conceptions? What Do Rudolf Arnheim
  and Michel Chion Have in Common?
Frances Guerin                                                                  129


PROJECTS & ABSTRACTS                                                            141
Université de Lausanne (François Bovier, PhD Thesis Abstract)                   143
Università Cattolica - Milano (Vincenzo Buccheri, PhD Thesis Abstract)          146
Institut National des Langues et Civilisations Orientales (INALCO) - Paris
  (Adrien Gombeaud, PhD Thesis Abstract)                                        148
Universiteit Utrecht (Rudmer Canjels, PhD Thesis Project)                       150
Universität Bremen (Uwe Day, PhD Thesis Project)                                152
University of California - Los Angeles (Tami M. Williams, PhD Thesis Project)   156

Università di Bologna, Università Cattolica di Milano, Università di Firenze,
 Università di Milano - Iulm, Università di Pavia, Università di Pisa,
 Università di Torino, Università di Trento, Università di Udine, Cinematic
 Technologies                                                                   158
The Keith-Albee Collection. Special Collections Department University of
 Iowa Libraries                                                                 160

X International Film Studies Conference. LIMINA - Film’s Thresholds
  (Udine, March 17-20, 2003)                                                    162
MAGIS Gradisca Film Studies Spring School / Multiple and Multiple-language
  Versions (March 21-28, 2003)                                                  165


SELECTED BY                                                                     167
Richard Abel (Ben Singer, Melodrama and Modernity:
Early Sensational Cinema and Its Contexts)                                      169
Rick Altman (Ben Singer, Melodrama and Modernity:
  Early Sensational Cinema and Its Contexts)                                    170
François Albera (Germain Lacasse, Le Bonimenteur
  de vues animées. Le cinéma “muet” entre tradition et modernité)               171
Francesco Casetti and Mariagrazia Fanchi (Annette Kuhn,
  An Everyday Magic. Cinema and Cultural Memory)                                174
Lorenzo Cuccu (Sandro Bernardi, Il paesaggio nel cinema italiano)               176
Thomas Elsaesser (Leonie Naughton, That Was the Wild East: Film Culture,
  Unification and the “New” Germany)                                            177
André Gaudreault et J.-P. Sirois-Trahan (Vincent Pinel, Le Montage,
  l’espace et le temps du film)                                                 180
Tom Gunning (Rachel O. Moore, Savage Theory: Cinema as Modern Magic)            184
François Jost (Gérard Genette, Figures IV)                                      186
Michèle Lagny (Jacques Aumont, La Théorie des cinéastes)                        188
Francesco Pitassio (Giorgio Agamben, L’aperto. L’uomo e l’animale)              188
Leonardo Quaresima (Paul Auster, The Book of Illusions)                         191
Lauren Rabinovitz (Linda Williams, Playing the Race Card:
  Melodramas of Black and White from Uncle Tom to O.J. Simpson)                 192
Cosetta Saba (Documenta 11 Platform 5: Exhibition. Catalogue)                   195
Vicente Sánchez-Biosca (Paulo Antonio Paranaguá, Le Cinéma
  en Amérique Latine. Le miroir éclaté)                                         198
Irmbert Schenk (Rolf Aurich, Wolfgang Jacobsen, Cornelius Schnauber,
  eds., Fritz Lang. Leben und Werk / His Life and Work / Sa vie et son œuvre)   199
Paola Valentini (Bruce Smith, The Acoustic World of Early Modern England)       200
Laura Vichi (Andy Masaki Bellows, Marina McDougall, Brigitte Berg, eds.,
  Science is Fiction. The Films of Jean Painlevé)                               202
