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Marie Rebecchi

Aix-Marseille University, Faculté des Arts, lettres, langues et sciences humaines, Faculty Member

Yale University, Film and Media Studies, Visiting Fellow (2023)

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Associate Professor (Maîtresse de conférences) Aix-Marseille University | ALLSH | ARTS
Member junior of Institut Universitaire de France (IUF) 2025-2030.
https://www.iufrance.fr/les-membres-de-liuf/membre/2841-marie-rebecchi.html

2023 (fall semester) Visiting Fellow at YALE University (US). Film and Media Studies Program.https://filmstudies.yale.edu/people/marie-rebecchi
2020 and 2023 Visiting Fellow and Lecturer at University of Lausanne (UNIL). Section Histoire et esthétique di cinéma.

2018-2020 Adjunct Professor at Université Sorbonne Nouvelle Paris 3, Université d'Amiens, Université de Lille (Media Aesthetics, Film Studies)

2015-2017 Recherches post-doc EHESS Paris (CRAL)

2013-2014 Post-doc et chargée de cours Paris 3 Sorbonne Nouvelle
Lauréate du programme « Research in Paris » (Ville de Paris)

2012-2013 Post-doc La Sapienza, Rome/EHESS, Paris

2012 Ph.D Aesthetics and Theory of Arts, University of Palermo. Title of the Dissertation: "Surrealism - Montage: Journals, Photographies, Films".

2010 "Recherches Doctorales" | École des hautes études en sciences sociales (Ehess), Paris.

2008 Ph.D – Theory of Visual Representation (one year) Istituto di Scienze Umane (SUM) – Siena.

2007-2008 Socrates/Erasmus Program (EHESS, Paris)

2006-2008 MA. – Philosophy | Aesthetics, University of Rome “La Sapienza” (supervisor Prof. Pietro Montani, vote: 110/110 cum laude).

2003-2006 BA. – Philosophy, University of Rome “La Sapienza” (supervisor Prof. P. Vinci). Title of the Dissertation: "Ineffectual Redemption in Walter Benjamin" (vote: 110/110 cum laude).

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Papers by Marie Rebecchi

"La filosofia del montaggio nel surrealismo", in "Comporre, scomporre, ricomporre. Il montaggio come forma dell'esperienza" (a cura di G. Solla), "PHILM. Rivista di Filosofia e cinema", #3, Università di Verona, pp. 71-94.

Comporre, scomporre, ricomporre. Il montaggio come forma dell'esperienza, 2024

The article explores the potential of montage beyond the cinematic realm, emphasizing its heurist... more The article explores the potential of montage beyond the cinematic realm, emphasizing its heuristic and expressive value in the context of the artistic avant-gardes of the 1920s. Montage is analyzed as a principle capable of technically reconfiguring perceptual models and reflecting dialectically the conflicts of reality through the juxtaposition of heterogeneous forms. At the heart of the debate on montage theories, the aim of the essay is to propose a possible reconciliation, beyond structural divergences, between Ejzenštejn’s montage theory and surrealism, particularly regarding the dissident forms and expressions of the latter.

M. Rebecchi, "Metamorphosis and Montage. The parisian encounter between Ejzenštejn and Painlevé", VCS. VISUAL CULTURE STUDIES, #6-7 (special double issue), "Film Studies before Visual Studies", a cura di Augusto Sainati e Andrea Rabbito, Milano-Udine, Mimesis, pp. 85-108.

The article tries to set the historical and cultural stage for Eisenstein’s Parisian stay in 1929... more The article tries to set the historical and cultural stage for Eisenstein’s Parisian stay in 1929-1930 and his encounter with the heterodox branch of surrealism deeply enmeshed with anthropology. I analyze the notion of “metamorphosis” as conceptualized by the cofounder and chief editor of Documents, Georges Bataille, but also as an operative principle in the scientific films made by the biologist and director Jean Painlevé. The metamorphosis method undermines a certain noble understanding of form inherited from idealist aesthetics, and is crucial for grasping what the deconstruction of the privilege of the human figure entails. In this regard, I focus on Painlevé’s putative influence on Eisenstein’s theory of “protoplasmaticity”.vengono sottoposti a double-blind peer review.

M. Rebecchi, E. Vogman, Eisenstein's Paris Diary: An Introduction, October (2024) (188): 105–110.

This introductory text unfolds and interprets some key elements from Eisenstein's Paris Diary, co... more This introductory text unfolds and interprets some key elements from Eisenstein's Paris Diary, contextualizing his encounters and providing further details for understanding the filmmaker's fragmentary and sometimes cryptic diary as an autotheoretical practice. Written from the perspective of one immersed in the artistic and intellectual Paris of 1929 and 1930—as evidenced by Eisenstein's encounters with Colette, Tristan Tzara, Gertrude Stein, André Malraux, Filippo T. Marinetti, Abel Gance, Jean Cocteau, Louis Aragon, Paul Éluard, Kiki de Montparnasse, Darius Milhaud, and others—the diary highlights the importance of his exchange with the avant-garde micro-cinematographer Jean Painlevé, as well as his theoretical and political kinship with the heterodox Surrealist group around the journal Documents. The introduction investigates the way in which Eisenstein's Paris Diary both documents daily events and serves as an ephemeral depository for the author's theoretical ideas on filmmaking and montage, seeing these in terms of such late works as Method, Montage, and Disney.

Marie Rebecchi, “Images et écologie: pour une hétérotemporalité des vivants et des images”, Collectif Images en Tr@nsit (Jean Arnaud, Damien Beyrouthy, Anna Guilló dir.), Revue Turbulences #01 ǀ 2024

URL: www.turbulences-revue.univ-amu.fr/wp/01-marie-rebecchi-images-et-ecologie-pour-une-heterotem... more URL: www.turbulences-revue.univ-amu.fr/wp/01-marie-rebecchi-images-et-ecologie-pour-une-heterotemporalite-des-vivants-et-des-images
Une pensée écologique des images est tout d’abord une pensée par images des relations à ce qui nous environne. Et ce qui nous entoure entretient un rapport avec toute image capable de documenter et enregistrer la vitalité qui parcourt les êtres vivants. Une écologie des images nous révèle ainsi à ces différents milieux de la vie (animale, végétale, minérale), à ces êtres qui la peuplent, et dont les temporalités si souvent nous échappent. Cette pensée écologique permet d’observer la nature comme une manifestation technique, tout en remettant en cause la nature même de l’observation. Si nous cessons de concevoir l’écologie sur le mode statique d’une coexistence au sein d’une grande maison, mais que nous la pensons à l’aune des transits multiples et des trajectoires hétérogènes et pourtant connectés, la coexistence cesse d’être subordonnée à une pensée de la synchronicité. Des êtres aux temps et aux rythmes irréductibles les uns aux autres, des vivants et des non-vivants, peuvent se côtoyer et entretenir des relations fortes, sans que l’un soit à la mesure de l’autre ni que l’on entretienne l’illusion qu’il puisse à jamais y avoir un temps rigoureusement propre, individuel et décorrélé.

"L’image-kaléidoscope. Archéologie d’une modernité hallucinée", dans Jean-Michel Durafour (dir.), "Sites du film. Le cinéma et ses parages", Les presses du Réel (« Perceptions »), pp. 303-325.

L’image-kaléidoscope. Archéologie d’une modernité hallucinée, 2023

In his 1819 Treatise on the Kaleidoscope, Scottish physicist David Brewster describes his newly i... more In his 1819 Treatise on the Kaleidoscope, Scottish physicist David Brewster describes his newly invented kaleidoscope as a scientific toy designed to “create and exhibit beautiful forms,” “an object of science and of public utility.” Soon after its invention, some of the main features of the kaleidoscope were transformed into a series of discursive metaphors, “betraying” some of the instrument’s key parameters (symmetry, variation, multiplicity, impermanence) and “translating” them through literary and visual imagination into an infinity of kaleidoscopic shapes. Most of these “discursive kaleidoscopes” or “kaleidoscope-images” describe a Modernity less prone to focus, recognition or concentration, and more disposed to the interplay of forms, metamorphoses and phosphenic visions: a dazzled, if not hallucinatory Modernity.

M. Rebecchi et A. Tondeur, « Pour une écologie ir-radieuse », in V. Deville, R. Olcèse, "L’art et les forme de la nature", Paris, Éditions Hermann, 249-259.

Pour une écologie ir-radieuse, 2023

Anaïs Tondeur et Marie Rebecchi engagent un échange sur le terrain de l'écologie des images par l... more

M. Rebecchi, "Les images, envers et contre tout. L’iconologie hétérodoxe de Georges Didi-Huberman". Wunderkammer 3 | Histoire(s) de l'art. Omaggio a Georges Didi-Huberman, a cura di Laura Lombardi. Milano, Silvana Editoriale, 2023, pp. 20-27.

Historien de l’art, philosophe et anthropologue des images, Georges Didi-Huberman est l’auteur d’... more Historien de l’art, philosophe et anthropologue des images, Georges Didi-Huberman est l’auteur d’une œuvre prolifique. Refusant de choisir entre la connaissance historique et l’expérience sensible, son écriture conjugue les deux traditions dans lesquelles s’est formée sa pensée : le structuralisme historique de Louis Marin et Hubert Damisch d’une part et la phénoménologie d’autre part, liée à des enseignants comme Henri Maldiney, mais aussi à une certaine tradition psychanalytique (Pierre Fédida), attentive aux transferts et aux affections de l’individu. Si, dès les années 1980, son œuvre alterne une écriture centrée sur les documents d’archives avec une écriture dramaturgique, elle a pourtant connu ces dernières années une inflexion que l’on peut décrire comme un « tournant politique », une double attention aux contextes historiques précis d’une part et à la poétique de l’émotion de l’autre, qui ne s’est jamais démentie. Ou comme l’auteur l’explique lui-même en se référant aux Anciens : le mathos – la connaissance – ne doit jamais s’acquérir au détriment du pathos et vice versa.

"Le charme discret de l'Occident", dans Vincent Amiel, José Moure, Benjamin Thomas et David Vasse (dir.), L'Europe du cinéma. Colloque de Cerisy", Les Impressions Nouvelles, Bruxelles 2023, p. 137-163.

"Il quadrato ritmico. Il cinema astratto da Hans Richter a Elio Piccon (1921-1951)", in Sintesi astratta Espansioni e risonanze dell’arte astratta in Italia, 1930-1960 a cura di Stefano Setti, Electa, 2022, pp. 192-201.

Sintesi astratta Espansioni e risonanze dell'arte astratta in Italia, 1930-1960 a cura di Stefano... more

L'immagine-caleidoscopio. Archeologia di una modernità allucinata (La filosofia come sapere visuale, a cura di Mauro Carbone e R. Kirchmayr, n. 396, déc 2022), pp. 156-74).

“The Kaleidoscopic Image. An Alternative Archaeology of Optical Modernity. My paper shows how Dav... more “The Kaleidoscopic Image. An Alternative Archaeology of Optical Modernity. My paper shows how David Brewster’s invention of the kaleidoscope (1819) contributed to a major shift in the visual culture of the 19th century. This “scientific toy” fostered a new form of knowledge based on deconstructing and reconstructing ordinary perceptions of reality and uprooted the epistemological framework through which the relationship between art and optics (between abstraction and ornament) had been conceived up to that moment

"Ur-Geräusch. The Sirens of Kittler and Rilke. Media Archaeology and Sound", in "Retuning the Screen Sound Methods and the Aural Dimension of Film and Media History", edited by Maria Ida Bernabei Simone Dotto Paolo Villa, FilmForum/2020

This article focuses in particular on how this non-linear, archaeological and recursive perspecti... more This article focuses in particular on how this non-linear, archaeological and recursive perspective on history can be adopted to analyze the “aural” aspect of media, taking as its starting point the relationship between sound media and mythology, on the one hand, and between sound media and physiology on the other.

WALTER BENJAMIN, Dictionnaire d'iconologie filmique, sous la direction d'Emmanuelle André, Jean-Michel Durafour & Luc Vancheri, Presses Universitaires de Lyon, 2022, p. 87-95.

La pensée esthétique de Walter Benjamin est inséparable d’une profonde révision de la notion ... more La pensée esthétique de Walter Benjamin est inséparable d’une profonde révision de la notion d’image, par ailleurs inséparablement associée à ses réflexions sur l’histoire, la théologie, la critique littéraire et la théorie des médias. Opposé à « l’historicisme de son temps », l’auteur d’Expérience et pauvreté s’est senti obligé de créer les concepts qui pourraient éclairer le travail de l’historien. Parce que « l’histoire se désagrège en images et non pas en histoires », Benjamin a formé le concept d’image-dialectique, parce que « l’historien remonte les rebuts » de l’histoire, il a eu besoin d’une image-montage, l’une et l’autre lui ayant permis d’explorer les consé- quences esthétiques et politiques de toute philosophie de l’histoire.

LES ORIGINES ANALOGIQUES DE LA BASSE DÉFINITION, La haute et la basse définition des images. Photographie, cinéma, art contemporain, culture visuelle (F. Casetti, A. Somaini dir.), 2021.

http://www.editionsmimesis.fr/catalogue/la-haute-et-la-basse-definition-des-images/

“Animation, Animated Cartoon and Liveliness”, in (a cura di): Greta Plaitano, Simone Venturini, Paolo Villa , Moving Pictures, Living Machines, Automation, Animation and the Imitation of Life | FilmForum 2019, pp. 55-62, Milano, 2020.

« Au-delà du cadre. Eisenstein et les carrés dynamiques », dans « Exposition/ Espace/ Cadre | Le geste du cadre » Anna Caterina Dalmasso et Natacha Pfeiffer (eds.), La part de l’œil. Revue de pensée des arts plastiques, n. 33-34, Ed. la Part del’œil, Bruxelles, 2019-2020, p. 285-293.

by Marie Rebecchi, Anna Caterina Dalmasso, and Natacha Pfeiffer

Les gestes du cadre, 2020

"Time-Lapse Machine. Plants, Crystals and Clouds: The Kaleidoscope of Time", in Antonio Somaini, with Eline Grignard, Marie Rebecchi, "Time Machine. Cinematic Temporalities", Skira 2020, 196-213.

“If you knew Time as well as I do,” said the Hatter, “you wouldn’t talk about wasting it. It’s hi... more “If you knew Time as well as I do,” said the Hatter,
“you wouldn’t talk about wasting it. It’s him.”
“I don’t know what you mean,” said Alice.
“Of course you don’t!” the Hatter said, tossing his head contemptuously.
“I dare say you never even spoke to Time!”
“Perhaps not,” Alice cautiously replied:
“but I know I have to beat time when I learn music.”
“Ah! that accounts for it,” said the Hatter. “He won’t stand beating.
Now, if you only kept on good terms with him, he’d do almost anything you liked with the clock”.

(Lewis Carroll, Alice’s Adventures in Wonderland, with illustrations by John Tenniel, Macmillian, 1865, 34)

"In the Deserts of the West, still today, there are Tattered Ruins of that Map, inhabited by Animals and Beggars; in all the Land there is no other Relic of the Disciplines of Geography."

(Suárez Miranda, Viajes de varones prudentes, 1658, in Jorge Luis Borges, “On Exactitude in Science,” trans. Andrew Hurley, Collected Fictions, Penguin, 1998, 705)

A journey through the looking-glass into the country of “nowhere”: elastic time and the intelligence of a machine.

If we travel through the mirror, the sheet of crystal, as Lewis Carroll recounts in the first few pages of Through the Looking-Glass and What Alice Found There (Fig. 1: Lewis Carroll, Through the Looking-Glass and What Alice Found There, ill. John Tenniel, 1871), we come face to face with a dream: a labyrinthine space-time, a geographically undisciplined country, a kaleidoscopic vision, a “cosmic pantomime” that could only be reflected by the enormous “covered mirrors” sprouting from Borges’ childhood memories in the wake of Carroll’s wonders.

"When Architectures Become Sound", in Pino Musi | Border Soundscape, Artphilein, Lugano, 2019.

"Abstract Moving Images and Expanded Architectures. The 1958 World’s Fair in Brussels and the Philips Pavilion", in D. Cavallotti, S. Dotto, A. Mariani (dir.), Exposing the Moving Image: the Cinematic Medium across World Fairs, Art Museums, and Cultural Exhibitions, FilmForum 2018, pp. 95-100.

"Montage Zone. Chris Marker e T.S. Eliot: sovrimpressioni", il verri, n. 68, 2018

"From Painting to Film: Abstract Cinema and Synaesthesia", in From Sensation to Synaesthesia in Film and New Media, ed. by R. Catanese, F. Scotto Lavina and V. Valente, Cambridge Scholars Publishing, 2018, pp. 205-215.