WW1 film and communication studies by Luca Giuliani
LE GUERRE NEL CINEMA ITALIANO DAL 1911 A OGGI, a cura di in Silvio Alovisio, Alessandro Faccioli e Luca Mazzei, Quaderni del CSCI: rivista annuale di cinema italiano, 2016
A fuoco l’obiettivo! Il cinema e la fotografia raccontano la Grande Guerra, a cura di A. Faccioli, A. Scandola, Università di Padova, AIRSC, Persiani, 2014
Dal punto di vista di un archivio cinematografico e audiovisivo, gli anniversari e le celebrazion... more Dal punto di vista di un archivio cinematografico e audiovisivo, gli anniversari e le celebrazioni hanno spesso un duplice vantaggio. Da una parte favoriscono la raccolta e la sistemazione di quanto finora conosciuto e conservato, dall'altra promuovono nuove ricerche proseguendo quella ideale galleria di interpretazioni e analisi che, succedendosi nel tempo, aggiornano e approfondiscono le nostre cognizioni e in ultima battuta contribuiscono a costituire la storia e a conservarne le fonti.
SPECIALE SEGNOCINEMA N. 190 novembre-dicembre 2014 PRIMA GUERRA MONDIALE a cura di Micaela Veronesi, 2014
I film fra archivi e musei. Una passeggiata fra le mostre europee di questo inizio di centenario
La Grande Guerra. Società, propaganda, consenso, a cura di Dario Cimorelli e Anna Villari, Silvana Editoriale, 2015
The Show Starts: WW1 on the screen. An overlook view on Italian war film production during WW1 wi... more The Show Starts: WW1 on the screen. An overlook view on Italian war film production during WW1 with its own internections with other cinematographies at the time, in particular with the impact of the American Signal Corps' newsreels.
La Grande guerra sul grande schermo / The Great War on the Big Screen / Der Erste Weltkrieg auf der Leinwand, 2015
Introduction Paper to the catalogue of the exhibition on WW1 and cinema curated together with Pat... more Introduction Paper to the catalogue of the exhibition on WW1 and cinema curated together with Patrizia Marchesoni, Luca Caracristi, Roberta Tait and organized in Trento by the Foundation Museo Storico del Trentino in 2014/15.
The catalogue traces the internections bewtween WW1 and cinema from the beginnings to nowdays in Italy, Europe and USA, fiction and non-fiction.
film archiving, management and curatorship by Luca Giuliani
Ritratti Shakespeariani. Angelo Francesco Lavagnino, Orson Welles e il Mercante di Venezia. Editrice Astrolabio Ubaldini, 2017
Il ruolo che davvero sogno di interpretare è l'ebreo di Shakespeare. Io sono cristiano (non che l... more Il ruolo che davvero sogno di interpretare è l'ebreo di Shakespeare. Io sono cristiano (non che la cosa importi), ma ho sempre sentito una certa affinità verso Shylock e vorrei raccontare questo mio sentimento al pubblico. Orson Welles L'attrazione che Orson Welles dimostra lungo tutto l'arco della sua attività nei confronti del personaggio di Shylock si manifesta in una serie di riprese e ritorni con cui il regista si cimenta fino agli ultimi anni di vita. In quella sorta di caleidoscopio rappresentato dalla produzione artistica di Welles, Shylock riappare all'improvviso, nelle forme meno attese. Nel 1938, un anno dopo la fondazione del Mercury Theatre, Welles propone una versione del Merchant of Venice per la nuova serie della Columbia di testi shakespeariani registrati su disco, The Mercury Text Records, il primo esperimento del genere. Le varie occasioni di ripresa del Mercante non sono certo all'insegna della sperimentazione del linguaggio o della messa in scena, come potevano essere il Giulio Cesare 'mussoliniano' o il Macbeth voodoo, ma sicuramente sono al cuore degli interessi tematici ed etici di Welles. Il potere e la solitudine del
“Archiver/Archiving”, Intermédialités/Intermediality, Historie et Théorie des Arts, des Lettres et des Techniques, Eric Méchoulan (sous la direction de), 2011
It is not by chance that studies on film ontology have re-flourished in the last few years. Altho... more It is not by chance that studies on film ontology have re-flourished in the last few years. Although cinema has undergone many technological changes, it seems that none of them has had such important consequences as its transformation into a digital medium. While some scholars have decreed the end of the idea of cinema we have shared for over a century, others have regarded the introduction of digital only as another moment of transition in film history; one way or the other, we are undoubtedly facing a crucial breaking point, as the very nature of “film” and “cinema” is at stake.
Journal of Film preservation, n. 82, FIAF, Bruxelles, 2010
Cinema is widely understood as having a two-fold existence and significance. On the one hand, fro... more Cinema is widely understood as having a two-fold existence and significance. On the one hand, from an economic perspective, it is considered a form of entertainment, an industry and business. It is logical that the commercial aspects of this form of creative expression should be governed by appropriate copyright and intellectual property laws. On the other hand, cinema is clearly one of the ey realms of artistic and cultural expression to develop in the twentieth century. Countless cinematic wors are now considered part of a common international patrimony !of the people" worthy of preservation and broad public access for en#oyment and scholarly study. $ecause of the cultural and artistic value of cinema, there are legislative tools %such as the !fair use" principle and exceptions to copyright laws& aimed at fostering free access to this film heritage.
Journal of Film Preservation, n.83, FIAF, Bruxelles, , 2010
A brief history of the juridical aspects related to film preservation and access in Italy from th... more A brief history of the juridical aspects related to film preservation and access in Italy from the last century to nowdays. Co-curated with Rita Borione and Alessandra Untolini.
Gli ultimi (DVD), curated by Luca Giuliani, produced by La Cineteca del Friuli, CEC, Cinemazero, distributed by CG HV, 2013
Introduction paper of the DVD booklet (DVD Award Il Cinema Ritrovato, Bologna, 2013), reconstruct... more Introduction paper of the DVD booklet (DVD Award Il Cinema Ritrovato, Bologna, 2013), reconstructing the history of the film and its restoration project.
Il coccodrillo luminoso e altre storie. Teoria e pratica dell’audiovisivo a scuola di Manlio Piva, Cinemazero, 2009
Introduction to the history and the theory of film education and literacy in school in Italy
Le considerazioni e le riflessioni che seguono sono in buona parte frutto di un lavoro preparator... more Le considerazioni e le riflessioni che seguono sono in buona parte frutto di un lavoro preparatorio durato un paio d'anni che ha visto chi scrive collaborare assieme agli altri rappresentanti delle istituzioni cinematografiche friulane alla commissione regionale per la redazione del testo della legge sul cinema discussa dal Consiglio del Friuli Venezia Giulia e infine approvata lo scorso 4 ottobre.
Film Technology Studies by Luca Giuliani
This paper is part of a relation delivered at the 2nd Gradisca International Film Studies Spring School, 2004
Is it really feasible to write a history of film technique without taking into account experiment... more Is it really feasible to write a history of film technique without taking into account experimental, craft-oriented and not-industrial practices as the ones of Italian cinema? In other words, the horizons of the story of technique, of the cinema machine understood as a collection of the modes of production, representation and reception and the film apparatus itself, cannot be looked at in isolation without taking into consideration he actual making of the film and how that is linked to the style of the filmaker. The story of technique cannot ignore the link between the making and the style.
This places fundamental importance on the weight represented by the process of transformation from making to expression or rather to the moment in which the technique becomes a plastic art form. Therefore, the technique should be seen not merely as an aid to production but as an integral part of the semantic operation of expressing the language of the film itself.
L’Auteur de cinéma: histoire, généalogie, archéologie, sous la direction de C. Gauthier, D. Vezyroglou, AFRHC, 2013
The collaboration between the director and the cameraman, and the relationship between style and ... more The collaboration between the director and the cameraman, and the relationship between style and film technology at the origin of modern photography in cinema. The case of Alfo Graziati and Luchino Visconti.
Introduzione al cinema muto italiano, a cura di S. Alovisio, G. Carluccio, Utet, Torino, 2014
Breve storia della nascita della tecnica cinematografica nel cinema muto italiano
Film Style / Lo stile cinematografico, edited by Enrico Biasin, Giulio Bursi, Leonardo Quaresima, Forum, 2007
This work focuses on the unusual relationship between style and technique starting in the early y... more This work focuses on the unusual relationship between style and technique starting in the early years of Italian Neorealism. It might appear uncommon to talk about style when looking at that all too brief period of Italian cinema marked by an extraordinary historical moment. Bazin himself describes the context as an exceptional one: " the films of Rossellini or De Sica owed the fact that they were major works, masterpieces, simply to a fortuitous combination of form and subject matter ". On the other hand, we cannot forget as has recently been written, that Neorealism can be understood as a true and proper stylistic system. The framework of this system, which can be said to constitute almost a kind of rhetoric, is aimed at the building of effects of reality.
Italian Silent Cinema: A Reader, edited by Giorgio Bertellini, John Libbey Publishing, 2013
When historians look at the events that marked Italian cinema’s first twenty years, they either e... more When historians look at the events that marked Italian cinema’s first twenty years, they either express a sense of wonder or opt for silence. How is it possible that Italy’s technologically underdeveloped and poorly funded industry, in both its manufacturing and distribution sectors, spawned a few excellent artis- tic and expressive productions? In other words, how to explain the puzzling fact that a backward and, in many respects, marginal production con- text managed to play a critical role in the development of a national film market featuring large-scale production and distribution activities – including international ones.
Perspectives pour une Nouvelle Histoire Technologique du Cinèma, Colloques Internationales, Uni... more Perspectives pour une Nouvelle Histoire Technologique du Cinèma, Colloques Internationales, Université de Lausanne, 2013, curated by Selim Krichane, Benoît Turquety
Le corps et le regard : introduction à une histoire du cadrage. Luca Giuliani et Manlio Piva L'une des réflexions les plus significatives sur les rapports entre technologie et langage, à un certain moment, est certainement la série (non terminée) d'articles par Jean-Louis Comolli pour les Cahiers du Cinéma entre 1971 et 1972, ultérieurement réunis en un seul volume. 1 Nous savons que, dans ces articles, l'auteur propose ce qui jusqu'alors était défini comme le dispositif cinématographique sous un point de vue qui marquera, par assimilation ou par refus, les positions théoriques de nombreux historiens et critiques du cinéma. A une époque de redéfinition de l'historiographie du cinéma motivée en partie par les innovations technologiques liées au numérique, l' apport de Comolli redevient d'une grande actualité, justement parce qu'il met l'accent avec force sur le rapport entre langage et technologie, en refusant la position idéaliste et téléologique dominante de l'époque, due en grande partie à l'influence du fondateur des Cahiers du Cinéma, André Bazin. Il ya deux aspects du discours de Comolli qui nous intéressent : d'une part, l'idée que la technologie n'est pas en soi « neutre » par rapport aux résultats artistiques, aux films, de l'autre, l'idée que les techniques et les technologies cinématographiques ne suivent pas un itinéraire linéaire, de perfectibilité progressive, mais plutôt qu'elles avancent par déphasage, convergences, apparitions-disparitions, phases de prédominance et de déclin.
Vincenzo Buccheri, Luca Malavasi (a cura di), La materia dei sogni: l’impresa cinematografica in Italia, Carocci, Roma, 2005
History of the Italian film stock factory Ferrania and its influence on Italian colour film histo... more History of the Italian film stock factory Ferrania and its influence on Italian colour film history.
Storia del cinema Italiano VI Vol. 1936 / 1939 a cura di Orio Caldiron, CSC, Marsilio, 2004
Brief overview of the colour systems in Italian cinema in the 30s.
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WW1 film and communication studies by Luca Giuliani
The catalogue traces the internections bewtween WW1 and cinema from the beginnings to nowdays in Italy, Europe and USA, fiction and non-fiction.
film archiving, management and curatorship by Luca Giuliani
Film Technology Studies by Luca Giuliani
This places fundamental importance on the weight represented by the process of transformation from making to expression or rather to the moment in which the technique becomes a plastic art form. Therefore, the technique should be seen not merely as an aid to production but as an integral part of the semantic operation of expressing the language of the film itself.
Le corps et le regard : introduction à une histoire du cadrage. Luca Giuliani et Manlio Piva L'une des réflexions les plus significatives sur les rapports entre technologie et langage, à un certain moment, est certainement la série (non terminée) d'articles par Jean-Louis Comolli pour les Cahiers du Cinéma entre 1971 et 1972, ultérieurement réunis en un seul volume. 1 Nous savons que, dans ces articles, l'auteur propose ce qui jusqu'alors était défini comme le dispositif cinématographique sous un point de vue qui marquera, par assimilation ou par refus, les positions théoriques de nombreux historiens et critiques du cinéma. A une époque de redéfinition de l'historiographie du cinéma motivée en partie par les innovations technologiques liées au numérique, l' apport de Comolli redevient d'une grande actualité, justement parce qu'il met l'accent avec force sur le rapport entre langage et technologie, en refusant la position idéaliste et téléologique dominante de l'époque, due en grande partie à l'influence du fondateur des Cahiers du Cinéma, André Bazin. Il ya deux aspects du discours de Comolli qui nous intéressent : d'une part, l'idée que la technologie n'est pas en soi « neutre » par rapport aux résultats artistiques, aux films, de l'autre, l'idée que les techniques et les technologies cinématographiques ne suivent pas un itinéraire linéaire, de perfectibilité progressive, mais plutôt qu'elles avancent par déphasage, convergences, apparitions-disparitions, phases de prédominance et de déclin.