Papers by Giacomo Di Foggia
![Research paper thumbnail of About the anti-figurativeness of #selfie. (Location of #selfie.), [articolo], in Busetta L. e Coladonato V. (eds), Be Your Selfie: Identity, Aesthetics and Power in Digital Self-representation, Networking Knowledge, vol 8, 2015](https://a.academia-assets.com/images/blank-paper.jpg)
In this paper, I propose that what I will call “#selfie” is far from being a figurative object as... more In this paper, I propose that what I will call “#selfie” is far from being a figurative object as it is generally assumed, since figurativeness is not an accidental consequence. As 'figurative', we mean the quality of the image with iconic reference to objects and subjects belonging to the natural world (beings, phenomena, things). According to Greimas (1984), in order to analyse a work of art you must first determine whether it is of a figurative or abstract kind and, therefore, whether it represents icons that are related to the natural world (beings, phenomena, objects) or those which have no figurative references. Based on a number of examples of #selfies, I shall instead demonstrate that the context in which these self-portraying pictures are taken, as well as the online and social environment in which they are shared, are more important than the self-portrayed subjects themselves. The hashtag “#”, in fact, indicates the centrality of the tag, the gesture of tagging, which is considerably more important than the fact of being self-portrayed through the #selfie. This implies that research on the practice of taking and sharing #selfies should (re)consider the current discussion focus on all those contemporary phenomena that are fostering and developing self-expression through new media. Taking into account the reflections made by Esposito on the impersonal (2007) and the research by Villa on contemporary self-portraits (2012, 2013), I will try to relate the production of #selfies to the practices of conceptual art (eg. Location of the I by Martin John Callanan), rather than privileging the idea of artistic (self)representation.
RECENSIONI 8 CINERGIE il cinema e le altre arti Cinergie, il cinema e le altre arti Cinergie usci... more RECENSIONI 8 CINERGIE il cinema e le altre arti Cinergie, il cinema e le altre arti Cinergie uscita n°8 novembre 2015 | ISSN 2280-9481 127 Al tempo dell'immagine condivisa, si può ancora parlare di giornalismo? André Gunthert, L'Image partagée. La photographie numérique, Textuel, Paris 2015
Interdisciplinary Conference, #selfie Imag(in)ing the Self in Digital Media. University of Marbur... more Interdisciplinary Conference, #selfie Imag(in)ing the Self in Digital Media. University of Marburg, 23-24 April 2015
Cinergie, il cinema e le altre arti RECENSIONI 153 7 CINERGIE il cinema e le altre arti Cinergie ... more Cinergie, il cinema e le altre arti RECENSIONI 153 7 CINERGIE il cinema e le altre arti Cinergie uscita n°7 marzo 2015 | ISSN 2280-9481 Charles Baudelaire vs Oliver Wendell Holmes Il fl âneur e lo spettatore. La fotografi a dallo stereoscopio all'immagine digitale, Franco Angeli, Milano 2014
![Research paper thumbnail of Di Foggia G. 2015, Dieci anni dopo Francesco Casetti, The Lumière Galaxy. Seven Key Words for the Cinema to Come,Columbia University Press, New York 2015, [book review], in Cinergie N°7, Recensioni, Menarini R. ed., March 2015 (ISSN: 22809481)](https://attachments.academia-assets.com/39373508/thumbnails/1.jpg)
Cinergie, il cinema e le altre arti RECENSIONI 151 7 CINERGIE il cinema e le altre arti Cinergie ... more Cinergie, il cinema e le altre arti RECENSIONI 151 7 CINERGIE il cinema e le altre arti Cinergie uscita n°7 marzo 2015 | ISSN 2280-9481 Dieci anni dopo Francesco Casetti, The Lumière Galaxy. Seven Key Words for the Cinema to Come, Columbia University Press, New York 2015 The Lumière Galaxy. Seven Key Words for the Cinema to Come di Francesco Casetti è dichiaratamente una sorta di sequel de L'Occhio del Novecento (Bompiani, Milano 2005) dieci anni dopo e contemporaneamente la summa di tutto quanto ha osservato, descritto e analizzato nel decennio. Scriveva Casetti nel 2005 nell'epilogo del suo libro: "assistiamo a una profonda trasformazione del contesto in cui il cinema opera (…) basta pensare a come la globalizzazione ridisegni la tensione tra frammento e totalità; il contrasto, proiettato sul territorio fi sico, diventa commistione tra locale e globale, 'glocalismo'. (…) O a come la miniaturizzazione delle tecnologie cambi i rapporti tra macchina e uomo: il corpo umano, più che prolungarsi in una serie di dispositivi, li ingloba direttamente in sé; la nozione di protesi lascia il posto a quella di ibridazione. O basta pensare a come l'emergere di nuove forme di passione, tutte estremamente fi siche, ridisegni il contrasto tra eccitazione e sensatezza: i due termini si saldano in un 'sentire' che ha l'energia o il ritmo come proprio propellente" (L'Occhio del Novecento, pag. 293) Nel corso di questi dieci anni, Casetti ha osservato, studiato, analizzato quel cambiamento di contesto, gli effetti dell'incontro tra la contemporaneità (digitale, neomediale, globalizzata ecc.) e il cinema e ora focalizza sui sette aspetti, le sette quidditas del cinema oggi: Rilocazione, Reliquie e icone, Assemblage, Espansione, Ipertopia, Display, Performance. Due fenomeni sono fondamentali: la rilocazione e ciò che chiama "ritorno alla madrepatria". La trasmigrazione di un'esperienza da un luogo ad un altro mette in moto questioni importanti circa l'idea contemporanea di spettatore, di visione, di testo e di discorso: implica l'adozione e la fruizione, quindi la padronanza e loro maneggiabilità, di molteplici dispositivi e supporti; circa i movimenti di socializzazione dell'esperienza mediale: da un lato la trasmigrazione, per esempio dell'audiovisivo, avviene verso forme di privatizzazione dell'esperienza (davanti al pc, al televisore, a youtube ecc.), ma da un altro verso spazi urbani davanti a vaste masse di persone (per dirne uno: nei monitor sui binari delle stazioni). La rilocazione prevede processi di riallestimento dei luoghi e dei contesti dell'esperienza di visione e un vecchio spazio si riallestisce coerentemente consapevole degli effetti di rilocazioni passate, un "ritorno alla madrepatria". Scriveva nel 2008: "la rilocazione delinea un antecedente per poter dire di recuperarlo, pur cambiandolo. Insomma, essa si costruisce il proprio originale cui far riferimento" (Francesco Casetti, The Last Supper in Piazza della Scala in 'Cinéma&Cie ', 11, 2008, pp. 7-14. Anche disponibile su www. francescocasetti.net -consultato il 9/3/2015). Inoltre, si delinea un passaggio da un modello di presenza e accoglienza ad uno di partecipazione e intervento che attiva nell'utente nuove e vecchie pratiche, nuove e vecchie competenze.
International Conference. Photography and Visual Cultures in the 21st Century: Italy and the Icon... more International Conference. Photography and Visual Cultures in the 21st Century: Italy and the Iconic turn. Rome, Italy - 4-5 December 2014. Roma Tre University.
Mariagrazia Fanchi, L’audience, Editori Laterza, Roma, 2014, [book review]
cinephilia and festival -on the need to analyze the lives and ideas of festival founders I think ... more cinephilia and festival -on the need to analyze the lives and ideas of festival founders I think it's not by chance that I'm the last in this panel. 1. Because my English is very bad. 2. Because my intervention is just a proposal: the starting point for a possible future work And 3. because my paper shifts the focus of our attention from the social and political, to the personal and the individual.
This article aims at analyzing the relations that occur between the cinephile member of the audie... more This article aims at analyzing the relations that occur between the cinephile member of the audience -and in particular his gaze -and the multitude of cinema fragments that populate the web. I investigate the way in which relationships, behaviors, processes of negotiation, and habits of cinephiles have been modified by the encounter with on-line cinema traces: the definition of the various typologies of classic/traditional cinephile behaviors; the mapping of the contemporary on-line behaviors of cinephilia. The massive development of the systems of on-line social networking highlights the emergence of new and ambiguous figures of cinephiles. Whilst on the one hand these contemporary figures maintain some characteristics deriving from the evolution (and re-mediation, relocation, etc) of classic cinephilia, on the other hand they show completely original typologies of experience, socialization and taste. The web, and in particular the programs of video sharing and the social networks, feed and trigger the characteristics of classic cinephilia, amplifying its consequences. In the study of contemporary new media culture, cinephilia helps understanding some of the internet-related phenomena, such as video sharing websites and social networks. Moreover, it contributes to the in-depth evaluation of the cases and examples of transformation processes of the media, and of contemporary spectatorship practices. Cinephilia is both something which can be experienced and something through one has experiences: it is a peculiar form of gaze, and therefore it is both a peculiar experience of cinema and an experience of the world via the cinema. It is a specific necessity within the process of negotiation that is activated by the act of vision. Cinephilia has been a deeply sentimental and existential experience. For classic cinephiles, today, reflecting upon cinephilia means to elaborate on a memory of one's own youth, and at the same time it means to elaborate on a memory of one's own life in order to think of "love for cinema". Cinephilia should therefore be understood as an experience, or a model of experience, towards the story and the self-portrait of one's own cinephile pleasure, towards the narration of one's own gaze, one's own pleasure, obsession and urge of desire. After all, desire and pleasure, once that they are made narratively explicit, become self-sufficient in feeding each other with one another. The reproduction of the mechanism movie/obsession, movie/pleasure, movie/reflex is obtained by means of autobiographic (self)narration. Systems of online social networking allow a depersonification of the user, who gains the possibility of constructing her artificial personality, until her complete reshaping into a ubiquitous avatar in a constant (and potentially endless) movement between the real and virtual worlds.
Écosystèmes narratifs dans les nouveaux milieux virtuels Mon intervention d'aujourd'hui constitue... more Écosystèmes narratifs dans les nouveaux milieux virtuels Mon intervention d'aujourd'hui constitue une première étape de ma réflexion personnelle autour des thèmes abordés au cours du séminaire doctoral coordonné par Guglielmo Pescatore au sein du Département de Musique et Spectacle de l'Université de Bologne ; et autour les thèmes sur lesquels se porte l'attention du groupe d'étude inter universitaire dirigé par Federica Villa sur « Autobiographie et autoportrait dans le cinéma et les nouveaux médias » D'une part, nous traiterons l'analyse des très nouvelles perspectives narratives dans le vaste panorama contemporain des nouveaux médias caractérisé par des mutations pérennes, croisements, encastrements, englobements, et ce dans l'embrouillement continu de phénomènes de rémediation (Bolter et Grusin), relocalisations (Casetti), convergence (Jenkins), et crossmedialitée.
Vedere dei film, viaggiare. È la stessa cosa.
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Papers by Giacomo Di Foggia