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Cinéma & Cie. Film and Media Studies Journal
Biographies
Text.Serial.Journal
https://riviste.unimi.it/index.php/cinemaetcie
14
Contributors / Collaborators
2014-10-01
2021-09-10
2014-10-01
2024-02-14
Cinéma & Cie
2014/10/01
2036-461X
22-23
en
Biographies
https://riviste.unimi.it/index.php/cinemaetcie/article/download/16355/17035
14
Contributors / Collaborateurs




Olivier Asselin is a Professor in the Department of Art History and Film Stud-
ies at the Université de Montréal, where he teaches contemporary art and media
arts. He is co-editor of Precarious Visualities: New Perspectives on Identification
in Contemporary Art and Visual Culture (2008), L’Ère électrique / The Electric
Age (2011) and Menlo Park. Trois machines uchroniques (2014). He has directed
several films, including La Liberté d’une statue (2010) and Un capitalisme senti-
mental (2008). He participates in two research groups: S.A.S.S. (on the spatiali-
zation of knowledge) and Mediatopias (on locative technologies in media arts).

Enrico Carocci, PhD, is Assistant Professor in the Department of Philosophy,
Media and Performing Arts at the Università degli Studi Roma Tre. His re-
search and publication interests include emotion in film theory and trends in
contemporary international cinema. He is author of the books Tormenti ed es-
tasi. “Strade perdute” di David Lynch (2007) and Attraverso le immagini. Tre saggi
sull’emozione cinematografica (2012). He co-edited the anthology Il Cinema e le
emozioni. Estetica, espressione, esperienza (2012).

Maarten Coëgnarts holds an MA in Film Studies and Visual Culture and an MA
in Sociology (Universiteit Antwerpen, Belgium). Since 2010 he has been doing
research, in collaboration with Peter Kravanja, on the interplay between concep-
tual metaphors, image schemas and cinema. The results have been published in
Image [&] Narrative, Projections, Alphaville, and Metaphor and the Social World.
They have also edited the special issue “Metaphor, Bodily Meaning, and Cin-
ema” of the journal Image [&] Narrative. He is currently preparing a PhD in film
studies at the Universiteit Antwerpen.

Adriano D’Aloia, PhD in Communication Studies, is Research Fellow in the De-
partment of Communication and Performing Arts at the Università Cattolica del
Sacro Cuore, Milan. He is the author of La vertigine e il volo. L’esperienza filmica
fra estetica e neuroscienze cognitive (2013) and curator of I baffi di Charlot. Scritti
italiani sul cinema 1932-1938 (2009) – the collection of Rudolf Arnheim’s Italian
writings on cinema. His essays and articles are featured in Bianco e Nero, Cin-
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ema: Journal of Philosophy and the Moving Image, Cinéma&Cie, Fata Morgana,
Film-Philosophy, Iluminace, Necsus and montage a-v.

Ruggero Eugeni is Full Professor of Media Semiotics at the Università Cattolica
del Sacro Cuore, Milan. His research focuses on the living media experience, as
defined both in cultural and in phenomenological-neurocognitive terms. From
this point of view, he is currently preparing a book on cinema and hypnotism.
His most recent work is Semiotica dei media. Le forme dell’esperienza (2010). He
is also author of Analisi semiotica dell’immagine. Pittura, illustrazione, fotogra-
fia (2004), La relazione d’incanto. Studi su cinema e ipnosi (2002), Film, sapere,
società. Per un’analisi sociosemiotica del testo cinematografico (1999). He serves
as Director of ALMED - Postgraduate School in Media, Communication and
Performing Arts at the Università Cattolica. Papers and preprints in English are
available at www.ruggeroeugeni.com.

Mauri Kaipainen is Professor of media technology at Södertörn University. He
studied education, musicology and cognitive science at the University of Hel-
sinki and earned his PhD in 1994 on a systemic model of music cognition. His
current research agenda focuses on the concept of interactive explorability of
perspectives to multi-perspective media.

Peter Kravanja is a Research Fellow at the Katholieke Universiteit Leuven (Bel-
gium), Faculty of Arts, research unit Literature and Culture. He holds an MS
and a PhD in Mathematical Engineering and Computer Science (KU Leuven,
Belgium), an MA in Cinema Studies (Université de la Sorbonne Nouvelle – Paris
3, France) and a BA in Philosophy (KU Leuven, Belgium). Since 2010 he has
been collaborating with Maarten Coëgnarts to investigate the interplay between
conceptual metaphors, image schemas and cinema. The results have been pub-
lished in Image [&] Narrative, Projections: The Journal for Movies and Mind,
Alphaville: Journal of Film and Screen Media, and Metaphor and the Social World.
They have also edited the special issue Metaphor, Bodily Meaning, and Cinema of
the journal Image [&] Narrative. Website: www.kravanja.eu.

Vittorio Gallese, MD and trained neurologist, is Professor of Physiology at the
Dept. of Neuroscience of the Università degli Studi di Parma where he is Coordi-
nator of the PhD Program in Neuroscience and Director of the Doctoral School
of Medicine. Cognitive neuroscientist, his research focuses on an embodied ac-
count of social cognition. His major contribution is the discovery, together with
his colleagues of Parma, of mirror neurons and the elaboration of a theoretical
model of social cognition – Embodied Simulation Theory. His scientific activity
is testified by more than 200 scientific publications in peer-reviewed internation-
al scientific journals and edited books. He received the Grawemeyer Award for
Psychology in 2007, the Doctor Honoris Causa from the Katholieke Universiteit
Leuven in 2010, and the Arnold Pfeffer Prize for Neuropsychoanalysis in 2010.

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                            Contributors / Collaborateurs


Livia Giunti obtained her PhD in Visual Arts and Film Studies from the Univer-
sità degli Studi di Pisa, Italy. Her PhD thesis abstract was published in Cinéma &
Cie, issue no. 21. Since 2013 she has been an academic tutor for the ICoN - Italian
Culture on the Net consortium. She is also a producer and a documentary maker
and has taught several professional courses on documentary film history and prac-
tices. She has published articles on documentary cinema, film analysis, and new
media. Since 2012, she has served as the president of the Tuscan Association of
Documentary Makers, and since 2014 has been one of the founding members and
coordinators of Quaderno del Cinemareale, the first Italian magazine dedicated to
documentary films. She currently holds a scholarship from the Università di Pisa
to produce short films about research activities at the university.

Michele Guerra is Assistant Professor at the Università degli Studi di Parma,
where he teaches History of American Cinema. Among his books, both as au-
thor and editor: Il meccanismo indifferente. La concezione della Storia nel cinema
di Stanley Kubrick (2007), Sequenze. Quaderni di cinema 1949-1951 (2009), Gli
ultimi fuochi. Cinema italiano e mondo contadino dal fascismo agli anni Settanta
(2010), Le immagini tradotte. Usi Passaggi Trasformazioni (2011), and the Ital-
ian edition of Victor Oscar Freeburg’s The Art of Photoplay Making (2013). His
research also focuses on the relationship between cinema and cognitive neuro-
science, and in 2011 he has been the recipient of a fellowship from the Center
for Advanced Study in the Behavioral Sciences at Stanford University. He is the
editor of the cinema and communication collection “Pandora”.

Christian Gosvig Olesen is a PhD candidate at the Universiteit van Amsterdam’s
Institute for Culture and History. His research project with the working title Film
History in the Making: Digital Archives and Film Historiography commenced in
the fall of 2012 under the supervision of Professor of Heritage and Digital Culture
Julia Noordegraaf. Christian Gosvig Olesen has studied film history and theory
at the Universities of Copenhagen and Bologna and holds an MA in Preservation
and Presentation of the Moving Image from the University of Amsterdam.

Patricia Pisters is Professor of Film studies at the Department of Media Stud-
ies of the Universiteit van Amsterdam. She is one of the founding editors of
Necsus: European Journal of Media Studies. She is programme director of the
research group Neuraesthetics and Neurocultures and co-director (with Jo-
sef Fruchtl) of the research group Film and Philosophy at ASCA (Amsterdam
School of Cultural Analysis). Publications include The Matrix of Visual Cul-
ture: Working with Deleuze in Film Theory (2003) and Mind the Screen (ed.
with Jaap Kooijman and Wanda Strauven, 2008). Her latest book is The Neuro-
Image: A Deleuzian Film-Philosophy of Digital Screen Culture (2012). See also
her website at www.patriciapisters.com.



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Francesco Pitassio is Associate Professor at the Università degli Studi di Udine,
and currently Fulbright Distinguished Lecturer at the University of Notre Dame.
He is one of the editors of NECSUS. European Journal of Media Studies. Among
his research interests are film acting and stardom, silent film, European film, Ital-
ian film history. His books are Ombre silenziose. Teoria dell’attore cinematografico
negli anni Venti (2002), Maschere e marionette (2002) and Attore/Divo (2003), Il
neorealismo cinematografico, with Paolo Noto (2010).

Maria Poulaki is Lecturer in Film and Digital Media at the University of Surrey.
She has an interdisciplinary background in Psychology and Media Studies, with
a focus on cinema. Her current research interests are in cognitive film theory and
complex systems theory and its applications to the study of audiovisual media.

Pia Tikka, PhD, filmmaker, has directed features Daughters of Yemanjá (Brazil-
Finland 1996), Sand Bride (Finland 1998), and worked in international film pro-
ductions. The author of Enactive Cinema: Simulatorium Eisensteinense (2008),
Enactive Cinema project Obsession (2005) awarded with Möbius Prix Nordic
prize, and co-author of interactive film-game Third Woman exhibited in Galapa-
gos Art Space, NY (2011), she is also a founding member of research project En-
active Media (2009-2011), Aalto University Finland. Currently, Tikka is affiliated
in the research project aivoAALTO. Her research team NeuroCine combines
filmmaking practice with the methods of neuroimaging in order to study neural
basis of cinematic imagination and filmmaker’s expertise.

Temenuga Trifonova is Associate Professor of Film Studies at York University in
Toronto. She is the author of The Image in French Philosophy (2007), European
Film Theory (2008), Warped Minds: Cinema and Psychopathology (2014) and nu-
merous scholarly articles. Her first feature film, Man of Glass (2012), won the
Cinematic Vision Award at the 2013 Amsterdam Film Festival and was screened
at the 2013 Deboshir International Festival of Independent Cinema in St. Peters-
burg, Russia.




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