Annalisa Pellino
Annalisa Pellino is a lecturer and postdoctoral research fellow at the Department of Communication, Arts, and Media at IULM University in Milan, where she earned her PhD in Visual & Media Studies in 2022.
Building on her doctoral research, she published The Voice in Transition: Cinema, Contemporary Art, and Audiovisual Culture (Mimesis, 2023), alongside several essays and articles in peer-reviewed journals, edited volumes, and online cultural magazines. She also serves on the editorial board of Cinéma&Cie: Film and Media Studies Journal.
Her research centers on audiovisual culture and media studies, with particular interests in film sound and voice, media archaeology, contemporary art, videographic criticism, and film circulation and exhibition. In 2025, she received the Italian Council grant for art research to support her project on the Aural Impulse in Contemporary Visual Arts.
She is a co-founder of AWI – Art Workers Italia, an organization advocating for the rights of art workers and ensuring their voices are heard—even when they’re just whispering.
Building on her doctoral research, she published The Voice in Transition: Cinema, Contemporary Art, and Audiovisual Culture (Mimesis, 2023), alongside several essays and articles in peer-reviewed journals, edited volumes, and online cultural magazines. She also serves on the editorial board of Cinéma&Cie: Film and Media Studies Journal.
Her research centers on audiovisual culture and media studies, with particular interests in film sound and voice, media archaeology, contemporary art, videographic criticism, and film circulation and exhibition. In 2025, she received the Italian Council grant for art research to support her project on the Aural Impulse in Contemporary Visual Arts.
She is a co-founder of AWI – Art Workers Italia, an organization advocating for the rights of art workers and ensuring their voices are heard—even when they’re just whispering.
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the 2019 Venice Art Biennale, is an African-American artist and filmmaker, who has contributed to the global affirmation of a black audiovisual
aesthetic based on the body and its sonic extensions. In particular, the artist
identifies the specificity of black culture in what he defines as Black Visual
Intonation, by constructing the audiovisual phrasing on the temporality
of Afro-American music, which configures new possibilities for a black
aesthetics based on the sounding body. Starting from these premises, the
essay analyzes Love is the Message, the Message is Death (2016), which
intersects the modes of the essay film with those of music video, where the
black visual intonation works as a kinesthetic principle of emotional revival
that supports the audio-tactile continuity (Iannotta, 2017) between the film
and the spectator’s body.
di Chantal Akerman, dove la voce è al centro di un ripensamento radicale
del rapporto tra visivo e sonoro, o del cosiddetto «contratto audiovisivo» (Chion 1992) e ne dichiara i processi di costruzione. La cineasta sperimenta con le possibilità formali, concettuali e performative dello spazio espositivo, e usa la voce per fare i conti con la questione dei limiti dello sguardo, che connota tutta la sua produzione. Attraverso un’oscillazione costante tra figurazione e astrazione, che mette in tensione il senso per rivoltare ogni cosa nel suo rovescio – una strategia già presente nei suoi film sotto forma di istanza antinarrativa (Bruno 2019) – Akerman valorizza la materialità della voce e sfuma il confine tra il semantico e il vocalico, immagine e phoné.
Muovendo da un approccio che pensa il cinema come un “performance-oriented medium” (Altman 1992) all’interno di uno scenario
post-cinematico (De Rosa, Hediger 2016; Chateau, Moure 2020) e l’evento filmico come una mise-en-scène di corpi, l’analisi si concentra sulla voce mediatizzata (Lombardi Vallauri, Rizzuti 2019), che si colloca in un terzo spazio tra performativo e narrativo, embodiment e disembodiment.