How Italian writers, scholars, clergymen, psychologists, members of parliament and philosophers reacted to the advent of cinema? How they established a common language to discuss an invention that exceeded habits and expectations, and that transcended existing forms and categories of thought? This anthology for the first time gathers a large number of social discourses that in Italy tried to define and contextualize cinema from the 1890s to 1920s. What results is an impressive picture of a culture at distress with a “scandalous” event and eager to appropriate it for the sake of modernization.
Early Film Theories in Italy 1896-1922
edited by Francesco Casetti with Silvio Alovisio and Luca Mazzei
Amsterdam University Press, Forthcoming in 2017
In conversation: Francesco Casetti on a new era in cinema
YaleNews, April 7, 2016
Francesco Casetti, winner of the Limina Prize for Best International Film Studies Book. (Photo by Laila Pozzo)
Francesco Casetti, chair of the Film and Media Studies Program, recently received one of the most prestigious European awards in film and media studies — the XIV annual Limina Prize for Best International Film Studies Book.
Casetti, who is also the Thomas E. Donnelley Professor of Humanities and professor of film studies, was honored with the award for his 2015 book, “The Lumière Galaxy: Seven Key Words for the Cinema to Come.” The prize is given by the editorial board of Cinéma & Cie. International Film Studies Journal, which includes 50 world-renowned film and media scholars.
Casetti recently met with YaleNews to talk about the impetus for his book, the new emerging era in cinema aesthetics, and why the Yale scholar believes it is important to have “novel insights into ideas in the present that were fed by the past.”
What follows is an edited version of that conversation.
Read the conversation
Udine, 18 February 2016 – FilmForum Udine-Gorizia in association with CUC – Consulta Universitaria del Cinema and Cinéma&Cie – International Film Studies Journal are pleased to announce the winner of the Best International Film Studies Book section of the fourteenth annual Limina Prize: The Lumière Galaxy: Seven Key Words for the Cinema to Come by Francesco Casetti (Columbia University Press, 2015).
This volume argues that in the age of convergence, when the various media have tended to mutate and merge, not only has cinema survived but in fact it is flourishing once again. We find cinema in theaters, but also in our houses, in galleries and museums, on modes of transportation or in waiting rooms, on our mobile devices and online. The Seven Key Words proposed by the author help us to comprehend the ways in which cinema has opened up to new horizons, while nonetheless keeping its own distinct identity.
The Prize for Best International Film Studies Book is awarded by Editorial Board of the prestigious academic journal Cinéma & Cie. International Film Studies Journal, which is composed of world-renown international film and media scholars.
The prize-giving ceremony took place in Gorizia at FilmForum 2016, the XXIII Udine International Film Studies Conference/XIV MAGIS International Film Studies Spring School.
Whether we experience film in the theater, on our hand-held devices, in galleries and museums, onboard and in flight, or up in the clouds in the bits we download, cinema continues to provide us an enjoyment. It is still living, even though convergence gives media new identities and new functions. If we want to fully grasp such a persistence of cinema, we must not only engage ourselves in an exciting travel from the remote corners of film history and theory to the most surprising sites on the internet and in our cities; moreover, we need to switch our minds far from the usual approaches based on concepts like canon, repetition, apparatus, and spectatorship, in favor of new words and ideas, including expansion, relocation, assemblage, and performance. The result will be, hopefully, an innovative understanding of cinema’s place in our lives and culture, along with a critical sea-change in the way we study the art. What eventually we will able to capture is that the more the nature of cinema transforms, the more it discovers its own identity: the “relocated cinema” is the one that fulfills the galaxy of possibilities embedded in the medium since its inception.
Columbia University Press, New York, Forthcoming February 2015