3 Udine/Gorizia marzo XX Udine International Film Studies Conference Who s What? Intellectual Property in the Digital Era Udine, marzo 2013/March 12-14, 2013 Palazzo Antonini, via Petracco 8 Palazzo Caiselli, vicolo Florio 2 Visionario, via Asquini 33 XI MAGIS Gorizia International Film Studies Spring School Gorizia, marzo 2013/March 15-21, 2013 Palazzo del Cinema/Hiša filma, piazza Vittoria 41 Fondazione Cassa di Risparmio Gorizia, via Carducci 2 Polo Santa Chiara, via Santa Chiara 1
4 Coordinamento scientifico/ Scientific coordinator: Leonardo Quaresima Comitato scientifico/ Scientific committee: Mariapia Comand, Roy Menarini, Francesco Pitassio, Cosetta Saba, Simone Venturini (Università degli Studi di Udine) Coordinamento artistico/ Artistic coordinator: Sergio Fant Progetto/Project: Who s What? Intellectual Property in the Digital Era: Alessandro Bordina, Sara Martin, Roy Menarini, Francesco Pitassio, Leonardo Quaresima, Simone Venturini, Federico Zecca (Università degli Studi di Udine), Roberto Braga (Università di Bologna) In collaborazione con/ In collaboration with: ACE Association des Cinémathèques Européennes Porn Studies: Cartography of Pornographic Audiovisual: Enrico Biasin, Federico Zecca (Università degli Studi di Udine), Giovanna Maina (Università degli Studi di Pisa) The Film Heritage: Andrea Mariani, Simone Venturini (Università degli Studi di Udine), Hans- Michael Bock (CineGraph, Hamburg), Jan Distelmeyer (Fachhochschule Potsdam EMW, FH + Universität Potsdam) Cinema italiano contemporaneo: Roy Menarini (Università degli Studi di Udine) Proiezioni/Screenings: Sergio Fant, Roy Menarini, Andrea Mariani (Università degli Studi di Udine) Premio Limina: Sara Martin, Roy Menarini, Mariapia Comand (Università degli Studi di Udine), Valentina Re (Università Ca Foscari, Venezia) Aleš Doktorǐc, Vincenzo Estremo, Ludovica Fales, Francesco Federici, Giacomo Ferigioni, Giuseppe Fidotta, Federico Giordano, Andrea Mariani, Martina Panelli, Mirco Santi Ufficio stampa/press: Volpe & Sain Comunicazione Sito internet/website: OnLab Direzione tecnica/ Technical direction: Gianandrea Sasso (CREA, Centro Ricerca Elaborazione Audiovisivi - Gorizia - Università degli Studi di Udine), Marco Comar (CINEMANTICA, Università degli Studi di Udine), Mirco Santi (La Camera Ottica, Film and Video Restoration, Gorizia - Università degli Studi di Udine) Assistenza tecnica/ Technical assistance: CLAV (Università degli Studi di Udine), Transmedia Spa Indice/Contents Testo/Text: Who s What? Intellectual Property in the Digital Era Testo/Text: What If Internet Were Not the Devil Itself? Guido Scorza Testo/Text: In Defense of Digital Piracy Roberto Braga XX Udine International Film Studies Conference/ Programme March, XI MAGIS Gorizia International Film Studies Spring School Programme March, Proiezioni/Screenings Udine/Gorizia March, Colophon/Contents Cinema & Contemporary Visual Arts: Alessandro Bordina, Francesco Federici (Università degli Studi di Udine) Post-cinema: Videogame/ Animation/Comics: Alberto Brodesco (Università degli Studi di Trento), Federico Giordano (Università per Stranieri di Perugia), Ludovica Fales (Università degli Studi di Udine), Pierre Chemartin, Philippe Marion (GRAFICS, Université de Montréal) Coordinamento organizzativo/organisation coordinators: Sara Martin, Federico Zecca Organizzazione/Organisation: Antonella Corsale, Sonia De Marchi (ARES Area relazioni esterne Università degli Studi di Udine), Maurizio Pisani, Loris Nardin, Daniela Fabrici (Dipartimento di Storia e Tutela dei Beni Culturali Università degli Studi di Udine), Alberto Beltrame, Anna Bertolli, Enrico Biasin, Alessandro Bordina, Cristina Cristofoli, Disegni e progetto grafico/ Graphics: Stefano Ricci Impaginazione/Layout: Marco De Anna (ARES Area relazioni esterne, Università degli Studi di Udine) Traduzione testi di/ Translate text by: Roberto Braga, Guido Scorza; Ludovica Fales (Università degli Studi di Udine)
5 Who s What? Intellectual Property in the Digital Era Udine, March XX Udine International Film Studies Conference The recent transformations in media landscape, determined by the digital revolution and the birth of Web 2.0, have brought the issue of intellectual property to the attention of jurists, consumers and, in a much wider sense, stakeholders. Due to the unprecedented proliferation of media platforms, the circulation of audio-visual products has become increasingly difficult to control, consequently undermining the usual strategies of copyright protection and ownership preservation. Besides, as a matter of fact, the emergence of a new digital sharing culture sustained by peer-to-peer communities, social networks and the contemporary gift economy has determined a radical change in the general perception of intellectual property itself. Within this networked society, the nature of intellectual property has become more and more ambiguous, paving the way to the rise of renewed forms of users creativity, partially grounded on the grassroots re-appropriation and re-distribution of pre-existing (licensed) materials (as in the case of the so-called fan fiction, for instance). As a consequence, the question of intellectual property in the digital era is at the very centre of the public debate and has also begun to draw the attention of scholars and researchers. Nevertheless, film and media studies are not new to the investigation of such an issue which, on the contrary, has been extensively discussed during the history of cinema and moving images technologies. Mindful of these assumptions and in line with its traditional interest in the interplay between early cinema practices and contemporary developments, the XX Udine International Film Studies Conference would like to suggest the following research perspectives: The original and the copy. The digital existence of audio-visual products has brought into question this (already problematic) opposition. The consequences of this new situation, in fact, involve both the practices of production and the distributive ones. In this sense, piracy appears to be related more to this drastic change in the status of the oeuvre than to disobedience (either individual or organized). Copyright. Are the traditional forms of copyright protection appropriate for the new digital environment in which audio-visual products circulate? Or are they just remnants of out-dated social and legal practices? A historical overview of the copyright institution can help us to understand its basis and reasons, without taking for granted its existence as a sort of natural right.
6 Plagiarism and imitation. In which ways film narratives and styles have been preserved from plagiarism and imitation during film history and within different national contexts? From American Biograph trademark engraved on D.W. Griffith s movies scenography to the Hollywood studios legal departments, what kind of legal instruments and productive practices have been used for the purpose? Author and authors. Which professional roles have been acknowledged for their creative contribution, in which historical and geographical contexts, and in which proportion? From the role of screenwriters during the 1910s to the property rights of stills photographers, creative contribution has not been uniformly valued in film industry during its history. Referent and image. The body and the work of actors are regulated by several legal constraints, which are informed by different conceptions of the subject/industry relationship. From the Hollywood studio system model, which alienates the actor from his or her own image, to the complex issues raised by the contemporary motion capture technology, the relations between individuals and their bodily appearance needs to be properly investigated. Who s What? Intellectual Property in the Digital Era Property and the archive. Film archives traditionally have complicated relations with the copyright owners of the images they preserve. These relations are connected to different conceptions of the social function and of the artistic value pertaining to the moving images intellectual property. A comparative survey of legal frameworks and of film preservation policies allows us to understand the features and the historical development of the different film cultures. Gorizia, March XI MAGIS International Film Studies Spring School The XI MAGIS International Film Studies Spring School, organized by the University of Udine in collaboration with its network of partners the Universities of Amsterdam, Birkbeck- University of London, Bochum, Fachhochschule Potsdam, Frankfurt, King s College-London, Liège, Malta, Milano-Cattolica, Paris III, Paris-Est-Marne-la-Vallée, Pompeu Fabra-Barcelona, Potsdam, Pisa, Sunderland and CineGraph/CineFest-Hamburg, GRAFICS/Université de Montréal, Associazione Culturale Maiè will be articulated in the following four sections: Cinema & Contemporary Visual Art: Media Arts and Intellectual Property Rights. This section will focus on the relationships between the intellectual property rights and contemporary
7 Who s What? Intellectual Property in the Digital Era artistic practices. As matter of fact, on the one hand, the limits imposed by intellectual property rights affect distribution, access, dissemination policies as well as production and exhibition practices of audiovisual contemporary artworks. On the other hand, since the beginning of the 20th century a deconstructive disposition toward the concepts of authoriality, originality and authenticity could be found in the contemporary artistic practice. From the 1990s, the advent of digital technologies in art production emphasized these tendencies which tend to increase the complexity of the relations between art production, reception and ownership. The Film Heritage: Film between Accessibility and Governance. The section is organized by University of Udine - La Camera Ottica Film and Video Restoration, CineGraph Hamburg, Fachhochschule Potsdam - EMW, FH + Universität Potsdam. As a follow-up to the outcomes of the the last edition, this year the section aims at studying how society influences the production and the consumption of movies. In particular, the section will focus on the historical and contemporary ways of providing and getting access to film, with an eye to the manifold interdependences between film, culture and politics. Particular attention will be devoted to the following topics: censorship, copyrights, laws, subsidies and finances, up to the broad and more explicitly bio-political issues. Post-Cinema/Videogame/Animation/Comics: A New Syntax of Desires II. Within the contemporary mediascape, new media as well as old ones (videogames, animation, digital cinema, comics etc.) are increasingly invested with a libidinization process and have become the object of new forms (and syntaxes) of desire. New media create in fact new needs, consequently giving rise to new desires. The aim of this section is to analyse this process by trying to answer the following questions: What kind of desire is generated by these new (and renewed) media and by their (new) forms of expression? What is the function of desire in a technological, gamificated, software-addicted medial society? How is the body engaged by the dynamics of desire within such a context? Cartography of Pornographic Audiovisual: Eurasian Pornography. This section aims at mapping the distinguishing features of national pornographies and the glocalization processes through which particular national pornographic practices are translated into transnational forms. In particular, this year the section is dedicated to the analysis of the development and the specific characters of Eurasian pornographies, with a particular focus on the following issues: eurasian pornographic industries and economies; eurasian pornographic genres and styles; eurasian legislative systems and censorship; eurasian auteurs, commercial/mainstream producers and stardoms; modes of consumption, intellectual property and piracy within Eurasian audiences.
9 Text/Guido Scorza What if Internet Were Not the Devil Itself? Precisely in 1982, Jack Valenti, at the time president of the Motion Picture Association of America (MPAA), declared before the Congress of the United States of America that VCR a technology which was relentlessly spreading in American homes would become for the film industry and the audience what the Boston Strangler had been for women alone at home. A new technology like VCR was looked at with suspicion and terror by the film industry as though its popularity was directly proportional to the disappearance of a healthy and flourishing industry. The history of the last thirty years has shown how those predictions were totally wrong. Not only the video has not strangled film industry, but it opened a new and prosperous market sector like home video, revealing the power of home theatre to the audience and leading the way to a different experience. This very experience later proved to be useful and valuable with DVDs replacing tapes on the shelves. Today, history seems to repeat itself again. The fear still hovering on new digital technologies and computer systems and nourished by global film industry originates from the same conviction that considered VCR as a potential disaster for film industry. Today film industry looks at internet as the devil itself, considering it as the most dangerous rival. Internet is looked at as the worst enemy and it s necessary therefore to fight it with Machiavelli-like devices, the end being always justified by the means used. It doesn t matter to the international film industry whether the way towards the release of the film from network s terror will lead us to compromising the relationship between those who make cinema and those who enjoy the cinema. It doesn t matter if along the way it will be necessary to establish an alliance with those same governments and those powers which are opposing the free flow of ideas. For most representatives of the industry a film on the web is just a lost film. Users will gobble up its value and this means destroying multimillion-dollar production investments in a few hours. Any new production investment will be discouraged. It is a general opinion that Internet will transform glorious Hollywood industry in a relentlessly anti-economic enterprise. No experience will help people heading film world to look for a different approach. Certainly not the experience connected with video recorder nor that other very enlightening experience lived by the colleagues of music industry a few years ahead of their time. The whole thing looks hopeless, at least up to now.
10 The online circulation of movie contents is considered an enemy almost by definition. The result is that films land on the Net through legal channels too late and almost without any promotional effort. According to film industry, this phenomenon ought to be governed by increasing regulations designed to restrict copyright laws, which at the time are already very strict. All this in order to offer the owners of these rights more effective tools to be used against whoever facilitates or receives films online. The whole thing looks like a scene taken from the famous movie cops and thieves with film industry running after governments from all over the world to help them run after online users. It is quite clear that they are running around in circles and nobody is catching up with the other, not even stopping him, which is quite obvious considering how technologies and digital contents are in constant and impossible to stop evolution. All this giving way to dangerous misunderstandings. Still, it would be unreasonable and it would be wrong to blame the content industry which rightly demands users to comply with the rules of intellectual property, which are too often violated. Downloading or watching a movie in streaming without paying and without the copyright s owner permission is prohibited and it is wrong besides the fact that it is illegal in the same way that it is wrong to walk out of a mediastore with a dvd in your pocket. Then, there are no excuses for digital pirates. However, we must admit that the approach of the film industry to online content circulation is wrong and surprisingly difficult to change. The reasons behind such a strong judgement are many. It is difficult to sum them up since they are connected with film distribution system and endless time and space limitations within it. Internet is by definition a network of open and interconnected networks. This means that every time a content is made available online in a country within a certain timeframe, the global network users expect to be able to use it no matter in what country they are living. Whenever legal access to a specific content is not made available in our own country, we feel pushed to find it on parallel and often illegal markets. The same happens with the time windows system. This system makes films available for a certain timeframe through specific channels (i.e. cinemas) making it unavailable online. In this case, the promotion aimed at cinema audience will create frustrating expectations for those who would legitimately like to be able to access the same film online. The same kind of frustration creates often the need to reach those contents through illicit channels. Text/Guido Scorza
11 Text/Guido Scorza This kind of mistake on the part of film industry may be effectively portrayed by an image quite familiar to western fans. It is quite clear that online audience, faced by existing commercial and legal boundaries, will not be easily pushed into a specific enclosure such as movie theatres, home video or pay tv. Digital audience is now used to accessing any kind of content regardless of temporal or spatial boundaries. Digital audience is used to considering any content existing in cyberspace as accessible at any time. Therefore it would be logical for film industry to take advantage of this desire or need to find contents online. Something that already took place as in the musical world and this by offering access to their audiences through a multi-layered cross-platform system. It would be wrong, of course, to think that this device would be enough to solve the old question of piracy. It would also be wrong to think that the reduction of the time windows and the long-awaited worldwide distribution licenses might be the solution to all problems. An important cultural question would still remain unsolved, and it would be hypocritical not to recognize it. It would still be difficult to explain a digital native what is the value of an intangible work of art and how wrong it is to take advantage of it illegally. To all effects this is a cultural battle that requires fighting. In order to win it it is important to rebuild a trustworthy relationship between film industry and its audience. At the moment this relationship is weak as audience sees the industry as a rich and greedy antagonist towards which even using Robin Hood-like devices is ethically correct. What if we tried to look at the Internet as the most valuable ally rather than as the devil? Among other things, internet represents the media with the largest capacity of widespread audiovisual content s distribution in human history. Guido Scorza
12 In Defense of Digital Piracy Online piracy is an elusive phenomenon, difficult to analyse since it changes so suddenly and unpredictably. So-called pirates are gathering around well-known platforms and then are migrating to other file-sharing systems, following unexpected routes and suggesting new ways of making content available by opening new forms of participation. This tendency is confirmed by the recent shut-down of illegal services like Megaupload or Library.nu, heralded as a great victory of cultural industries on peer-to-peer. In fact, it turned out to be just a superficial kick to piracy. Piracy changed skin again and was able to shape up other more resilient and less monitored practises. The enforcement of copyright and intellectual property, which is manifested by restrictive laws like Hadopi in France or the AGCOM motions in Italy not to mention the much-discussed SOPA and PIPA bills not only is often ineffective, but keeps widening the gap between piracy and legislation. All this leaving aside the social and economic effects of these measures. For example, who is paying for the monitoring of users connections? Will their privacy be at risk? What happens to a family when, in a society strongly mediated by the Internet, connection to the Web is cut? Certainly we know that users always find ways to go around these restrictions, by using technological devices to encrypt connections, transferring contents through physical media, which are more difficult to share but less traceable. The natural mutability and adaptability of piracy practises left operators of the cultural industries extremely unprepared in front of practises which they consider impossible to stop. They tend to act more and more in a short-sighted way, showing their inability to deal with the changing structure of the media sector. The backwardness of some positions is even more evident in this year s reports of Univideo, FAPAV, MPAA, RIAA. Beside the economic crisis, piracy is considered as the only responsible for the drop in consumption these assumptions not being supported by any analytical and methodological framework. On the other side, a growing number of independent studies has shown a positive effect of filesharing on cultural consumption. The degree of substitution, meaning the lost products sales caused by piracy, is difficult to determine and quite controversial. There is certainly no one to one relationship between file-sharing practices and drop in consumption. In the absence of a comprehensive analysis of homogeneous samples, however, the image of the pirate seems to be different from the character which has been created by the cultural industries. The file-sharers community show a tendency to legal consumption that is much stronger than other users of the Network. This is one element is opening up new business possibilities for the cultural industries. The so-called sampling effect, that is to say the possibility Text/Roberto Braga
13 Text/Roberto Braga offered by piracy to audiences to free testing a product before buying it could introduce new customers to new contents. Piracy works like Ryanair: once you get used to flying (low-cost) you are no longer willing to go back. So, one might say, what s the problem then? If piracy acts as a form of collective consumption, able to facilitate content delivery, filling the gaps of cultural industries and reducing promotional costs by activating grassroots promotion, why are pirates hated so strongly? The problem lies in the cultural industries patterns and not only theirs still treating piracy as a revenue-killer. Piracy acts as innovation booster, it is a kind of smart drug able to renew distribution practises, marketing actions and business models. However, such changes require a reorganisation of entire production sectors in order not to show themselves through business models which have not yet been tested enough. This process will open up new problems. If it is true that piracy can create demand for complementary products, we still need to understand what makes a consumer invest in a product line of a multimedia franchise rather than another. If generosity and speed are the heart of the pirate services, how can cultural industries deal with the lower orders, the only ones so far capable of filling the gaps in distribution systems? And yet, how to convert sharing into a sustainable economic model? How to convert file-sharers in public for all purposes, and then make them measurable and attractive to third parties? How to protect intellectual property without prejudicing the rights of users, fair use presumption of innocence? How to enhance the practice of file-sharers, meaning an active part in determining the success of a cultural product? No single answer to all this exists today but we know for sure that piracy continues to be the main competitor of the cultural industries. Roberto Braga
14 XX Udine International Film Studies Conference
15 Tuesday, March 12, Università degli Studi di Udine, Sala Convegni prof. Roberto Gusmani, Palazzo Antonini Interventi di saluto/ Greetings Cristiana Compagno, Magnifico Rettore dell Università degli Studi di Udine Elio De Anna, Assessore regionale alla Cultura, Sport, Relazioni Internazionali e Comunitarie Furio Honsell, Sindaco del Comune di Udine Luigi Reitani, Assessore al Turismo e alla Cultura del Comune di Udine Elena Lizzi, Assessore alla Cultura della Provincia di Udine Neil Harris, Direttore del Dipartimento di Storia e Tutela dei Beni Culturali Presentazione/Introduction Leonardo Quaresima (Università degli Studi di Udine) Jane Gaines (Columbia University) Historical Paradoxes of the Original Copy Peter Decherney (University of Pennsylvania) Hollywood and the Public Domain Discussione/Discussion Pausa/Break André Gaudreault (Université de Montréal) Le Relatif anonymat de l enregistreur d opéras à l ère de l agora-télé Vinzenz Hediger (Goethe-Universität Frankfurt) Rights as Incentives Alexander Peukert (Goethe-Universität Frankfurt) The Digital Author Discussione/Discussion Presiede/Chair: Leonardo Quaresima (Università degli Studi di Udine) Tuesday, March 12, Workshop A - From the Silent Era to Digital Piracy Sala Tiepolo, Palazzo Caiselli Tom Paulus (Universiteit Antwerpen) Whose Motif Is It Anyway Scènes à faire and Author s Rights During the Classical Studio Era Vito Adriaensens (Universiteit Antwerpen) A Singular Flower? Gaumont Productions and the Pan- European Style Anke Brouwers (Universiteit Antwerpen) Writing Themselves on to the Film: Authors and Autographs in the Silent Era Discussione/Discussion Pausa/Break Franck Gloglo (Université Laval, Québec) Finding the Law: The Case of Copyright and Related Rights Enforcement in the Digital Era Lucia Tralli (Università di Bologna) Some Rights Granted. Remixing Media - Online Diffusion and Fair Use Doctrine Discussione/Discussion Presiede/Chair: Peter Decherney (University of Pennsylvania) Tuesday, March 12, Workshop B - From Economic Problems to Artistic Practices Sala Riunioni, Palazzo Caiselli Daniele Doglio (Università Cattolica del Sacro Cuore, Milano) Not a Natural Right : Copyright Is Still the Only Way to Properly Fund Production Claudio Celis (Cardiff University) For a Critique of the Political Economy of Intellectual Property Discussione/Discussion Pausa/Break Ingrid Stigsdotter (Linnaeus University) Los Angeles Distributes Itsefl on Web.2 Lance Rickman (University of Essex) The French Nobleman s Wife: Imitation and Innovation Discussione/Discussion Presiede/Chair: Marc Vernet (Université de Paris Diderot) Proiezioni/Screenings Udine Tuesday, March 12, Cinema Visionario, via Asquini 33, Udine The We and The I (Michel Gondry, 2012, 103 ) Udine, Tuesday, March 12
16 Udine, Wednesday, March 13 Wednesday, March 13, Università degli Studi di Udine, Sala Convegni prof. Roberto Gusmani, Palazzo Antonini Leontien Bout (Eye Film Institute) Copyright: Burden or Blessing? An Overview of the Impact of Copyright Related Issues on Cultural Heritage Institutions Nicola Mazzanti (Cinémathèque Royale de Belgique) Yes, We Can... Actually, No We Cannot Coordinato da/ Coordinated by: Nicola Mazzanti (Cinémathèque Royale de Belgique, president Association des Cinémathèques Européennes) Discussione/Discussion Pausa/Break Presentazione degli ultimi volumi delle collane Mimesis Cinema, Mimesis Cinergie, Mimesis Media/Sex Presentation of the last issues of the Book Series Mimesis Cinema, Mimesis Cinergie, Mimesis Media/Sex Presentazione del libro Preserving and Exhibiting Media Art, a cura di Julia Noordegraaf, Vinzenz Hediger, Barbara Le Maître and Cosetta Saba, Amsterdam, University Press, 2013 Presentation of the book Preserving and Exhibiting Media Art, edited by Julia Noordegraaf, Vinzenz Hediger, Barbara Le Maître and Cosetta Saba, Amsterdam University Press, 2013 Rosanna Maule (Concordia University, Montréal) Reconfiguring Intellectual Property: Archiveology as Critical Practice Leonardo Chiariglione (Independent scholar) Standards and Intellectual Property in Film Content Life Cycle Vincenzo D Andrea (Università degli Studi di Trento) The Apparent Convergence of Openness and Participation Discussione/Discussion Presiede/Chair: Vinzenz Hediger (Goethe-Universität Frankfurt) Wednesday, March 13, Workshop A - Intellectual Property: A Worldwide Survey Sala Tiepolo, Palazzo Caiselli Manuel Garin, Alan Salvadó (Universitat Pompeu Fabra, Barcelona) Simultaneous Property and Experimental Piracy in Pere Portabella s Vampir Cuadecuc Clara Darmon (Université Paris 3) The Forms of Authors Right Violation in Russia: The Economic Transation and the Redefinition of the Author ( ) Discussione/Discussion Pausa/Break Mounia Bel-Afia (Université Paris 3) Les Droits d auteurs audiovisuels au pays des tournages Nicolò Gallio, Marta Martina (Università di Bologna) The Crowd Strikes Back: Crowdsourcing, Crowdfunding and the Changes of Intellectual Property Discussione/Discussion Presiede/Chair: Rosanna Maule (Concordia University, Montréal) Wednesday, March 13, Workshop B - Intellectual Property and Archival Practices Sala Riunioni, Palazzo Caiselli Rechsteiner Emjay (Eye Film Institute) Of Orphans and Widow Works Claudy Op den Kamp (Plymouth University) The Greatest Films Never Seen: Audiovisual Archives and the Orphan Works Problem Caroline Renouard (Université de Paris-Est) Restoration amateur - repack de films rares: pour une légitimation de la cinéphilie pirate? Discussione/Discussion Presiede/Chair: Gianni Celata (Università di Roma La Sapienza) Pausa/Break Orphan Films and the European Union Copyright Reform Tavola rotonda coordinata da/round Table coordinated by Association des Cinémathèques Européennes Presiede/Chair Nicola Mazzanti (Cinémathèque Royale de Belgique, president Association des Cinémathèques Européennes) Anna Batistová (Národní Filmovy Archiv) Leontien Bout (Eye Film Institute) Anna Fiaccarini (Fondazione Cineteca di Bologna) Emiliano Morreale (Centro Sperimentale di Cinematografia - Cineteca Nazionale) Ivan Nedoh (Slovenska Kinoteka)
17 Evento Speciale/ Special Event Wednesday, March 13, Cinema Visionario, via Asquini 33, Udine Tavola rotonda/round table I media contemporanei tra pirateria e proprietà intellettuale Contemporary Media Between Piracy and Intellectual Property Coordinato da/coordinated by Simone Arcagni e Roy Menarini A seguire/following Premio Limina/ Limina Award Assegnazione dell XI Premio Limina per libri di cinema italiani e internazionali pubblicati nel 2012 Awarding assignment of the XI Limina Award for Italian and International Film Studies books published in 2012 In collaborazione/ In collaboration with MyMovies.it Proiezioni/Screenings Udine Wednesday, March 13, Cinema Visionario, via Asquini 33, Udine Le proprietà intellettuali/ le libertà intellettuali Dino Risi: gli esordi ritrovati Verso la vita (Dino Risi, 1946, 12 ) Tigullio minore (Dino Risi, 1947, 9 ) La provincia dei sette laghi (Dino Risi, 1948, 10 ) La fabbrica del Duomo (Dino Risi, 1949, 10 ) 1848 (Dino Risi, 1949, 11 ) Presentati da/presented by Sergio Toffetti (Archivio Nazionale del Cinema d Impresa di Ivrea - Centro Sperimentale di Cinematografia) Un opera non è di un autore e neppure la vita lo è: Carmelo Bene Bis (Paolo Brunatto, 1966, 20 ) Il canto d amore di Alfred Prufrock (Nico D Alessandria, 1967, 20 ) Hermitage (Carmelo Bene, 1967, 26 ) Presentati da/presented by Emiliano Morreale (Centro Sperimentale di Cinematografia - Cineteca Nazionale) Thursday, March 14, Sala Convegni prof. Roberto Gusmani, Palazzo Antonini Guglielmo Pescatore (Università di Bologna) Piracy and Consumption of Digital Goods Marc Vernet (Université de Paris Diderot) L Auteur et les procédures légales aux Etats-Unis entre 1913 et 1917 Valentina Re (Università Ca Foscari, Venezia) Stop, Thief! : Media Industries, File Sharing and The Rhetoric of Anti-piracy Campaigns Discussione/Discussion Pausa/Break Presentazione del n. 3 della rivista Cinergie. Il cinema e le altre arti /Presentation of the issue no. 3 of the film journal Cinergie. Il cinema e le altre arti Presentazione del n. 2 della rivista G A M E: The Italian Journal of Game Studies Presentation of the issue no. 2 of the film journal G A M E: The Italian Journal of Game Studies Vincenzo De Masi, (Universität Zürich) Media in China: The Creativity of the Chinese Animation in the Soft Power Era Gianni Celata (Università di Roma La Sapienza) Movie and Web Between Piracy and Opportunities Discussione/Discussion Presiede/Chair: Jane Gaines (Columbia University) Conclusioni e fine dei lavori/ Final remarks and end of works Proiezioni/Screenings Gorizia Thursday, March 14, Kinemax Gorizia, piazza Vittoria 41, Gorizia Binding Memories Moja Meja (Nadja Velušček, Anja Medved, 2002, 50 ) My Lost Generation (Vladimir Tomič, 2009, 31 ) A Letter to Dad (Srd an Keča, 2011, 48 ) A seguire/following Balkan Tour Programma di cortometraggi provenienti da/a programme of short films from Slovenia, Croazia, Serbia, Macedonia, Montenegro, Bosnia A cura di/curated by Eurochannel Organizzato da/organized by Accademia Europeista del FVG / Eurochannel Presentato da/presented by Aleš Doktorǐc, Ludovica Fales Udine/Gorizia,Wednesday, March 13/Thursday, March 14
18 XI MAGIS Gorizia International Film Studies Spring School
19 Gorizia, Friday, March 15 Friday, March 15, Sala della Torre, Fondazione Cassa di Risparmio di Gorizia Interventi di saluto/greetings Cristiana Compagno, Magnifico Rettore dell Università degli Studi di Udine Federico Portelli, Assessore alla Cultura, Provincia di Gorizia Ettore Romoli, Sindaco del Comune di Gorizia Rudi Ziberna, Assessore alla Cultura, Comune di Gorizia Mauro Pascolini, Direttore Centro Polifunzionale di Gorizia Franco Obizzi, Presidente Fondazione Cassa di Risparmio di Gorizia Roberto Calabretto, Presidente del Corso di Laurea Dams, Università degli Studi di Udine Presentazione/Introduction Leonardo Quaresima, Università degli Studi di Udine Presentation of the Workshops Post-Cinema: Videogame/ Animation/Comics Federico Giordano (Università per stranieri di Perugia), Ludovica Fales (Università degli Studi di Udine), Alberto Brodesco (Università degli Studi di Trento) Cinema & Contemporary Visual Arts Alessandro Bordina, Francesco Federici (Università degli Studi di Udine) The Film Heritage Andrea Mariani, Simone Venturini (Università degli Studi di Udine), Hans- Michael Bock (CineGraph, Hamburg), Jürgen Keiper (Deutsche Kinemathek Berlin), Jan Distelmeyer (Fachhochschule Potsdam - EMW, FH / Universität Potsdam) Porn Studies: Cartography of Pornographic Audiovisual Giovanna Maina (Università degli Studi di Pisa), Enrico Biasin, Federico Zecca (Università degli Studi di Udine) Pausa/Break Post-Cinema: Videogame/ Animation/Comics Patricia MacCormack (Anglia Ruskin University) Cinema, Arts, Desire: A Cinesexual Deleuzio- Guattarian Approach Olivier Asselin (Université de Montréal) The Thrill of the Real: On the Use of Metalepsis in Mixed- Reality Film and Games Friday, March 15, Workshops Cinema & Contemporary Visual Arts Polo Santa Chiara Gabriele Jutz (Universität für angewandte Kunst Wien) The Sound of Technology Enrico Camporesi (Université Paris 3) Le Film ready-made. Pratique d appropriation et valeur d exposition à partir de Perfect Film (1986) de Ken Jacobs Jonathan Thonon (Université de Liège) Le Remake dans l art contemporain: écarts et écrans Sarah Durcan (Birkbeck, University of London) Documentary Fictions: Challenges to Concepts of Originality and Authenticity in the Work of Pierre Huyghe Coordinato da/coordinated by Gabriele Jutz (Universität für angewandte Kunst Wien) Post-Cinema: Videogame/ Animation/Comics Polo Santa Chiara Philippe Marion (Université de Louvain), Comics and Desire Yael Ben Nun (Università Paris VIII) La Répresentation du corps dans Gantz: la question du passage du corps dessiné au corps de l acteur dans les adapatations de l oeuvre Marc Joly (Université de Montréal) Neoreligious Affect in the Age of Digital Technology: Cinephany and Cultural Rapresentation Coordinato da/ Coordinated by Marco Benoît Carbone (University College London), Carl Therrien (Université de Montréal) Proiezioni/Screenings Friday, March 15, Kinemax Gorizia, piazza Vittoria 41, Gorizia Panzano (Rosa Barba, 2000, 16mm, 22 ) They Shine (Rosa Barba, 2007, 35mm, 4 ) Outwardly from Earth s Center (Rosa Barba, 2007, 16mm, 24 ) The Long Road (Rosa Barba, 2010, 35mm, 6 10 ) The Hidden Conference: About the Discontinuous History of Things We See and Don t See (Rosa Barba, 2010, 35mm, 11 ) Somnium (Rosa Barba, 2011, 16mm, 19 ) Time as Perspective (Rosa Barba, 2012, 35mm, 12 ) Presentato da/presented by Rosa Barba Discussione/Discussion Presiede/Chair: Leonardo Quaresima (Università degli Studi di Udine)
20 Saturday, March 16, Sala della Torre, Fondazione Cassa di Risparmio di Gorizia Post-Cinema: Videogame/ Animation/Comics Andrea Mubi Brighenti (Università degli Studi di Trento) Addictive Visibility: Some Thoughts on New Media Uses Cinema & Contemporary Visual Arts Maeve Connolly (Dun Laoghaire Institute of Art, Design and Technology) Cinematic Mind-Games in the Gallery: Film Theory and Art Practice Sandra Lischi (Università degli Studi di Pisa) Films à parcourir: l installation dans quelques expériences cinématographiques récentes. Discussione/Discussion Pausa/Break Presiede/Chair: Wanda Strauven (Universiteit van Amsterdam) Artist Talk Rosa Barba Saturday, March 16, Workshops Cinema & Contemporary Visual Arts Polo Santa Chiara Maeve Connolly (Dun Laoghaire Institute of Art, Design and Technology) The Cinematic Beyond Cinema Chris Fite-Wassilak (University of East London) The Performance of the Cinematic: The Evocation of Cinema in Live Events Francesco Federici (Università degli Studi di Udine) The Space of the Viewer: Notes on Spectatorship in the Gallery Coordinato da/ Coordinated by Maeve Connolly (Bauhaus-Universität Weimar) Post-Cinema: Videogame/ Animation/Comics Polo Santa Chiara Carl Therrien (Université de Montréal) From Fear to Empathy. A Journey Through Affective Ecosystems in Video Games Joyce Goggin (Universiteit van Amsterdam) Contagion and Gamification: Addiction as an Economic Driver Ivan Girina (University of Warwick) Desire and Fear of Transformation in Japanese Contemporary Popular Culture: The Postmodern Aesthetics of Transfiguration from Resident Evil to Devil May Cry Giuseppe de Riso (Università degli Studi di Napoli L Orientale) Femininity and Male Desire in Third-person Videogames Coordinato da/ Coordinated by Marco Benoît Carbone (University College London), Carl Therrien (Université de Montréal) Proiezioni/Screening Saturday, March 16, Kinemax Gorizia, piazza Vittoria 41, Gorizia Terra animata (Luca Patella, 1967, 6 ) SKMP2 (Luca Patella, 1968, 30 ) Reflex (Mario Schifano, 1964, 16 ) Souvenir (Mario Schifano, 1967, 11 ) Presentati da/presented by Annamaria Licciardello (Centro Sperimentale di Cinematografia - Cineteca Nazionale) Da Bologna a Stalino. Documentario sul viaggio del convoglio n 1 (Enrico Chierici, 1942, 9,5mm, 20 a 16 f/s) Archivio Nazionale del Film di Famiglia, Fondo Fratelli Chierici Restaurato nel 2012 da/ Restored in 2012 by La Camera Ottica and CREA Musicato da/musicated by Renato Rinaldi Decadimenti e riemersioni. Il cinema pittorico di Guglielmo Baldassini (Selezione di filmati Pathé Baby, ca., 16mm da 9,5mm, 35 a 24 f/s.) Archivio Nazionale del Film di Famiglia, Fondo Guglielmo Baldassini Restaurato nel 2012 da/ Restored in 2012 by La Camera Ottica and CREA, Recording and Print16mm, Marco Emiliani Musicato da/musicated by Roberto Paci Dalò Organizzato da/organized by La Camera Ottica - Home Movies Archivio Nazionale del Film di Famiglia Gorizia, Saturday, March 16 Discussione/Discussion