Relocations
Thanks to convergence, media now overlap and merge. We read the newspaper on a PC, we listen to the radio on our cellphone, we watch a movie on a TV set. This does not mean that media have reached their end: although they no longer depend on a specific apparatus, they still have an identity, linked to the specific experience they offer. Newspapers survive even without paper, because there continues to exist a certain way of narrating the world. Radio survives, because we still engage in a certain way of listening to reality. Cinema survives because there still exists a certain way of wathcting things. Relocation designates the movement through which media migrate to new environments and to new devices, where they reenact their basic mode of experience. The concept of relocation is important for at least three reasons within the context of the digital revolution: it focuses on permanence within a great process of change; it highlights the experiential dimension over the technological one; and it reveals the relevance of a spatial dimension – where space acts both as a phisical environment and as techno-virtual setting.
The Last Supper in Piazza della Scala
in «Cinéma&Cie», 11, Fall 2008, pp. 7-14
Back to the Motherland: The Film Theater in the Post-Media Age
Key-note speech at the Screen Studies Conference, University of Glasgow, July 5th 2009
Filmic experience
in «Screen», 50, 1, Spring 2009, pp. 56-66
Elsewhere. The Relocation of Art
in Valencia09/Confines, Valencia, INVAM, 2009, pp. 348-351
Experience
There are at least three good reasons why we should place the filmic experience at the center of our attention. The first is that the seeing of a film, in the different ways that this may occur, while on one hand may constitute a particular experience, on the other hand, impresses and redirects our experience in general. Or finally how cinema highlights unprecedented aspects, previously ignored, which sanction the reinterpretation of reality in light of what appears on the screen. In sum, the common and everyday vision often finds itself following the example of filmic vision, to the point of becoming a “cinematographic” vision, demanding of the real cinematography in order to be truly apprehended. Cinema therefore is the site of an experience which has reshaped the meaning of experience.
The Filmic Experience: an introduction
Communicative Negotiations
In this paper, I will deal with narrative, clearness, and transparency – with the aim of understanding what we mean by the expression “a realistic film” or, if you will, with “cinematic realism”.