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Relevant bibliographies by topics / Francesco Casetti

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Academic literature on the topic 'Francesco Casetti'

Author: Grafiati

Published: 5 June 2025

Last updated: 2 August 2025

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Journal articles on the topic "Francesco Casetti"

1

Muscio, Giuliana, and Roberto Zemignan. "Francesco Casetti and Italian Film Semiotics." Cinema Journal 30, no. 2 (1991): 23. http://dx.doi.org/10.2307/1224977.

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Hagener, Malte. "Screening Fears: On Protective Media, by Francesco Casetti." Alphaville: journal of film and screen media, no. 27 (July 2, 2024): 265–68. http://dx.doi.org/10.33178/alpha.27.24.

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D'Aloia, Adriano. "Francesco Casetti (2008) Eye of the Century: Film, Experience, Modernity." Film-Philosophy 14, no. 2 (2010): 181–90. http://dx.doi.org/10.3366/film.2010.0057.

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Muanis, Felipe. "Metaimagens na televisão e vanguardas: as vinhetas da Rede Globo e MTV." Rumores 5, no. 10 (2011): 59. http://dx.doi.org/10.11606/issn.1982-677x.rum.2011.51252.

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A partir das discussões sobre paleo e neo-televisão, apontadas por Umberto Eco, Francesco Casetti e Roger Odin, pretende-se levantar indagações sobre a validade de interrupção das metaimagens televisivas, tomando como exemplo as vinhetas institucionais da Rede Globo de Televisão e da MTV. A associação das poéticas das vinhetas com alguns recursos estéticos utilizados por artistas vanguardistas do início do século XX, bem como suas possibilidades narrativas e não narrativas, fundamentam a discussão. Umberto Eco, John Caldwell, Anika Schoemann e Flávio Cauduro serão autores analisados.

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Llinares, Dario. "Francesco Casetti, The Lumière Galaxy: 7 Key Words for the Cinema to Come." Screen 59, no. 2 (2018): 279–82. http://dx.doi.org/10.1093/screen/hjy020.

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Rebecchi, Marie. "Francesco Casetti, La Galassia Lumière. Sette parole chiave per il cinema che viene." Rivista di estetica, no. 63 (December 1, 2016): 217–19. http://dx.doi.org/10.4000/estetica.1350.

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Akemi Ishii, Regiane. "Imagens pobres e a ostentação do pixel – Relações entre cinema e internet em Videofilia (e outras síndromes virais)." Contratexto, no. 034 (2020): 81–104. http://dx.doi.org/10.26439/contratexto2020.n034.4867.

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Este artigo é dedicado à análise fílmica de Videofilia (e outras síndromes virais) (2015), de Juan Daniel F. Molero, e sua relação narrativa e estética com a internet, destacando a presença de glitches e datamoshing, técnicas que ampliam a visibilidade dos píxeis. Relacionaremos tal uso com o conceito de imagens pobres, termo cunhado por Hito Steyerl em que a autora apresenta a ambivalência das imagens que perdem resolução para ganhar velocidade e difusão. Também serão mobilizadas reflexões recentes da teoria do cinema por meio de autores como D.N. Rodowick, Francesco Casetti e Thomas Elsaesse

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Zucconi, Francesco. "Francesco Casetti, Screening Fears: On Protective Media, New York: Zone Books 2023, pp. 272." Cinéma & Cie. Film and Media Studies Journal 24, no. 42 (2024): 147–49. http://dx.doi.org/10.54103/2036-461x/24071.

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Flynn, Niall. "The Lumière Galaxy: Seven Key Words for the Cinema to Come, by Francesco Casetti (2015)." Alphaville: Journal of Film and Screen Media, no. 10 (December 16, 2015): 160–64. http://dx.doi.org/10.33178/alpha.10.10.

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Ader, Natalia Eva, and Valeria Car. "Entre los bordes. Hacia una nueva tipología de las series cortas." Ñawi 8, no. 1 (2024): 149–75. http://dx.doi.org/10.37785/nw.v8n1.a9.

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Las series web, o series cortas, se caracterizan por su inestabilidad, incluso en su denominación. No son cine, tampoco TV. ¿Cómo podemos definirlas? Algunas investigaciones han aportado caracterizaciones, convenciones que ayudan a re-conocer a las series web como formato. Este artículo se enmarca en un proyecto de investigación denominado “Formatos emergentes. La serie web y sus especificidades narrativas”. En primer lugar, se buscará abrir la discusión y explorar el universo narrativo de las series cortas, para realizar un aporte teórico conceptual al estudio del formato. Como enfoque metodo

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Books on the topic "Francesco Casetti"

1

Imma, Ascione, and Di Biasio Aldo 1947-, eds. Caserta al tempo di Napoleone: Il decennio francese in Terra di Lavoro. Electa Napoli, 2006.

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Caserta, Philipoctus de, Anthonello, de Caserta, 14th/15th cent., Biblioteca estense (Modena Italy), and Università di Pavia. Dipartimento di scienze musicologiche e paleografico-filologiche., eds. Le composizioni francesi di Filippotto e Antonello da Caserta tràdite nel Codice Estense [alpha].M.5.24. ETS, 2005.

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Buccaro, Alfredo, editor of compilation, Lenza, Cettina, 1954- editor of compilation, and Mascilli Migliorini, Paolo, editor of compilation, eds. Il Mezzogiorno e il Decennio: Architettura, città, territorio : atti del quarto seminario di studi sul Decennio francese : Napoli-Caserta, 16-17 maggio 2008. Giannini, 2012.

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Radner, Hilary, and Alistair Fox. An Elegy for Cinema1. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422888.003.0005.

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This chapter describes how Raymond Bellour in the twenty-first century enters into the on-going debates about the end of cinema that commenced in France in the late 1980s. The chapter underlines how he focuses largely on the changing shape and nature of the dispositif (or viewing situation, including the assumptions that a spectator brings to the viewing experience) in response to new technologies, with an emphasis on moving-image installation art shown in the museum or gallery. Whereas some scholars, such as Francesco Casetti, among others, have claimed that digital technologies and the proli

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Book chapters on the topic "Francesco Casetti"

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"Francesco Casetti." In Technics. Amsterdam University Press, 2024. http://dx.doi.org/10.1515/9789048564569-010.

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Lie, Sulgi. "On the Pragmatics of Enunciation." In Towards a Political Aesthetics of Cinema. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462983632_ch03.

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In Francesco Casetti’s pragmatist theory, enunciation becomes entirely a matter of deictic point-of-view configurations between pronominally defined positions of “I” “you” and “he.” Casetti turns the negativity of the speaking subject into a performative speech act. In contrast to Casetti, the late Metz comes closest to the original impulse of Oudart: against the presentism of Casetti’s deictic model, Metz pleads for the impersonality of the instance of enunciation similar to that of writing. However, Metz tends to allow enunciation and text to fall into one another despite their alleged split

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Casetti, Francesco, and Andrea Pinotti. "Post-cinema Ecology." In Post-cinema. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463727235_ch11.

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Instead of developing the general theme of the immersive experience, Francesco Casetti and Andrea Pinotti exemplify it by focusing specifically on Alejandro G. Iñárritu’s Carne y arena, an interactive virtual reality installation presented at the 2017 Cannes Film Festival, insofar as it testifies to the formal and spectatorial transformations that are rightly referred to as post-cinema. More generally, emphasizing the characteristics of “unframedness, presentness, and immediateness,” this kind of work draws our attention to the phenomenology of the film experience. Casetti and Pinotti propose

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Andrew, Dudley. "Announcing the End of the Film Era." In Post-cinema. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463727235_ch03.

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In what at first appears a book review of Francesco Casetti’s The Lumière Galaxy: Seven Key Words for the Cinema to Come, Dudley Andrew’s paper provides an overview of the most general and crucial discussion that the post-cinema theme brings to the fore. Not only does he bring together several theorists who participate in the debate throughout the globalized world – Mulvey, Aumont, Bellour, Dubois, Gaudreault, Marion, Rodowick, Casetti – but Andrew also reignites this debate that could be considered a scholastic quarrel about a process whose outcome is still uncertain – the end of cinema! – if

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Casetti, Francesco. "Primal Screens." In Screen Genealogies. Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789463729000_ch01.

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In a polemical stance against current media archaeologies, Francesco Casetti re-reads what film theories consider ‘proto-screens’—respectively Athena’s shield, which Perseus converted to a tool of warfare; Boutades’s wall, on which his daughter fixed her lover’s shadow; and Alberti’s window, which the artist transforms into a perspectival matrix. While these narratives are just that—narratives—they reveal many of our present-day assumptions and priorities. In particular, they uncover how screens do not exist as such. A screen becomes a screen thanks to an assemblage of elements and within a se

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Telotte, J. P. "Convergence and the Rhetoric of Scientifilm." In Movies, Modernism, and the Science Fiction Pulps. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190949655.003.0004.

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Abstract: Film, Francesco Casetti argues, provided a common “field of convergence for different dimensions” of the popular imagination in the early twentieth century. We can see evidence of the extent of that “convergence” in the sort of discourse that unfolded in various other internal features of the pulps. Editorials, readers’ letters, and film reviews converge to demonstrate a sense of enthusiasm about the ability of films to supplement the work of SF by visualizing or realizing the genre’s ideas for reshaping the world and the self. That enthusiasm would bring repeated calls for the film

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7

"Comment: Francesco Caselli." In The State of Economics, the State of the World. The MIT Press, 2020. http://dx.doi.org/10.7551/mitpress/11130.003.0029.

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"3. Announcing the End of the Film Era. The Lumière Galaxy: Seven Key Words for the Cinema to Come by Francesco Casetti, Columbia University Press, 2015." In Post-cinema. Amsterdam University Press, 2020. http://dx.doi.org/10.1515/9789048551941-005.

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9

Kim, Jihoon. "Expanded Dispositifs." In Documentary's Expanded Fields. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197603819.003.0004.

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Addressing the burgeoning of moving image installation works aimed to reinvent the forms and subjects of documentary cinema in the contemporary art scene of the twenty-first century, which has also been called the “documentary turn,” this theorizes how the gallery functions as a basis for expanding the apparatus of documentary cinema. Drawing on Francesco Casetti’s idea of “relocation” and Jacques Rancière’s “redistribution,” this chapter presents the concept of documentary’s “expanded dispositif.” It refers to the installations’ arrangement of heterogeneous technical and aesthetic elements, w

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10

Chinita, Fátima. "The Intermedial Reworking of History in Peter Greenaway’s The Tulse Luper Suitcases Trilogy." In The Moving Form of Film. Oxford University Press, 2023. http://dx.doi.org/10.1093/oso/9780197621707.003.0018.

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Abstract This chapter focuses on Peter Greenaway’s The Tulse Luper Suitcases trilogy as a Historical saga encompassing the years of World War II, but recounted in the highly abstract and formally postcinematic aesthetic advocated by the director. In this work, Greenaway establishes a correlation between cinema and other art forms, as if he were a metaphorical media archaeologist retracing the recurrence of technical, artistic, and narrative properties of media. Thus, old media are represented and refashioned in a way that addresses three of Francesco Casetti’s contentions in his book The Lumiè

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Conference papers on the topic "Francesco Casetti"

1

Fiorillo, Raffaela. "Il castello di Alvignano: un’opera difensiva del territorio dell’Alto Casertano." In FORTMED2025 - Defensive Architecture of the Mediterranean. edUPV. Editorial Universitat Politècnica de València, 2025. https://doi.org/10.4995/fortmed2025.2025.20237.

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According to historical records, Cubulteria or Compulteria was an ancient town of Samnite and later Roman foundation located along the Volturno River. Most historians believe it corresponds to the present- day towns of Dragoni and Alvignano in the province of Caserta in Campania.The name of the town is recorded in a commemorative plaque dedicated to di Marcus Aulus Albinus procurator at the cohort of the Breuci From the latter, according to some etymological hypotheses, the toponym Albinianum could derive, from which the present name of Alvignano would later evolve.Alvignano Castle, built isol

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