Issue 5_Transitions

Edited by / Sous la direction de Francesco Casetti, Mariagrazia Fanchi

The spectatorship experience and viewing forms have deeply changed during cine- ma’s more than a century of existence. The evolution of the apparatus (from the multi faceted technological innovations that have transformed the cinema medium, to the regeneration, driven by digital technology, of the media scenarios), the changing view- ing conditions (the evolution of the trade, the multiplication and differentiation of the fruition spaces), the metamorphosis of the social and cultural scenario (the extension and transformation of the social and discursive networks that the viewers are inserted into and that constitute the inescapable framework of the viewing experience) have changed the relationship forms between film and viewer and the habits and the value of going to the cinema. The present issue of Cinéma & Cie aims straight for the heart of a question that today, due to the drive towards interactivity and media convergence, is ever more relevant, by examining in depth the viewer’s experience. This involves on the one hand an understanding of how many and which factors shape the cinema view- ing forms, how they interact with each other and what type of observation, method or approach is more suited to grasp the variety and complexity of the relationships and on the other hand to assess how the cinematic experience can contribute to define the usage modes of other media and even a canon of apperception and understanding of the extra media reality.

Francesco Casetti, Mariagrazia Fanchi, Introduction

Francesco Casetti, The Place of the Observer

Annette Kuhn, Spatial Practices. Some Thoughts on Cinema, Memory and Its Future

Vinzenz Hediger, “You Haven’t Seen It Unless You Have Seen It at Least Twice:” Film Spectatorship and the Discipline of Repeat Viewing

James Hay, Toward a Spatial Materialism of the “Moving Image:” Locating Screen Media within Changing Regimes of Transport

Mariagrazia Fanchi, Ethics and Etiquette of the New Forms of Film Spectatorship


New Studies

Michael Cowan, Theater and Cinema in the “Age of Nervousness:” Der Andere by Paul Lindau (1894) and Max Mack (1913)

Leonardo Nandini, Urban and Rural Space. Italian and American Cinema in the 1930s

Eleftheria Thanouli, Hyperreal Space and Urban Experience in Contemporary Greek Cinema


Projects & Abstracts
  • Université de Paris I (Frédéric Binet/Ph.D. Abstract)
  • Università di Firenze (Chiara Tognolotti/Ph.D. Abstract)
  • Université de Montréal (Viva Paci/Ph.D. Project)
  • III MAGIS – Gradisca International Film Studies Spring School
    Moving Images, Moving People. Multiple and Multiple-Language Versions. A Research Project (Gradisca d’Isonzo, March 10-19, 2005)
  • XII Udine International Film Studies Conference
    Narrating the Film. Novelization: From the Catalogue to the Trailer (Udine/Gorizia, March 7-9, 2005)

Selected by
  • Richard Abel (Mark Garrett Cooper, Love Rules: Silent Hollywood and the Rise of the Managerial Class)
  • François Albera (Jean-Claude Milner, Le Pas philosophique de Roland Barthes)
  • Sandro Bernardi (Gian Piero Brunetta, Guida alla storia del cinema italiano. 1905-2003)
  • Francesco Casetti, Mariagrazia Fanchi (Mark Jancovich, Lucy Faire, with Sarah Stubbings, The Place of the Audience. Cultural Geographies of Film Consumption)
  • Lorenzo Cuccu (Vito Zagarrio, Cinema e fascismo. Film, modelli, immaginari)
  • Thomas Elsaesser (Heide Schönemann, Paul Wegener: Frühe Moderne im Film)
  • André Gaudreault (Jacques Malthête, Laurent Manzoni sous la dir. de, Méliès, magie et cinéma)
  • Tom Gunning (Mark Garrett Cooper, Love Rules: Silent Hollywood and the Rise of the Managerial Class)
  • François Jost (Fernando Andacht, El Reality show: une perspectiva analitica de la televisión)
  • Leonardo Quaresima (Siegfried Kracauer, Werke, Band 6, Kleine Schriften zum Film)
  • Lauren Rabinovitz (Mark Garrett Cooper, Love Rules: Silent Hollywood and the Rise of the Managerial Class)
  • Vicente Sánchez-Biosca (Alfonso Puyal, Cinema y arte nuevo. La recepción fílmica en la vanguardia española)
  • Irmbert Schenk (Guntram Vogt, Die Stadt im Film. Deutsche Spielfilme 1900-2000)


Download Full Issue
No. 5, Fall 2004

Leave a Reply