Papers on Media Semiotics
A Semiotic Theory of Media Experience. Paper presented with the title “Media Experiences and practices of analysis. For a critical pragmatics of media” at the Amsterdam School for Cultural Analysis (ASCA) International Workshop “Practicing Theory”, University of Amsterdam, March 2-4, 2011
semiotics; media; consciousness; experience; situated cognition; embodiment; media studies;
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Feeling Together. Cinema and practices of sociability in the post – media age. A semiotic analysis of Star Trek (J.J. Abrahams, Usa 2009). Paper originally presented at the XIII International Cinema and Media StudiesConference in Transylvania, 2010, october 22-23. To be published in the Proceedings of the Conference.
semiotics; experience; sociability; territory; modernity; Star Trek;
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Nikeplatz. The Urban Space as a New Medium, paper presented at NECS 4th annual conference, Istanbul (Turkey) Kadir Has University, 26 giugno 2010 and at Université d’été de l’Université Sorbonne Nouvelle – Paris 3, Cinéma et art contemporaine 3, Paris, Institut National de l’Histoire de l’Art (INHA), 7 luglio 2010.
semiotics; experience; sociability; urban space; global cities; territory; Eva and Franco Mattes;
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The experience of the canon. The emotion of the cinema and the naturalization of the artificial. Paper presented at the XVII International Film Studies Conference “The Film Canon” (Udine, March 16-18 2010)
semiotics; experience; sociability; film studies; film canon;
“A Past Which Has Never Been a Present”. Cinema and Photography in Blow-Up by Michelangelo Antonioni, paper published with the same title in in Jan Baetens, Isabella Pezzini et Hilde Van Gelder (eds), Photographie / Photography in RS.SI Recherches Sémiotiques / Semiotic Inquiry, (ISSN : 0229-8651 (imprimé) 1923-9920 (numérique)), Volume 28, numéro 1-2, 2008, pp. 3-252; the article is at pp. 125-135. Available on line (you need a subscription).
semiotics; experience; embodiment; cinema; photography; Antonioni; Merleau Ponty; Blow Up
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Defining the filmic rythm. On the Beginnings and Endings of Pinocchio (G. Antamoro, 1911), in Veronica Innocenti e Valentina Re (a cura di), Limina / Le soglie del film – Film’s Thresholds, Udine, Forum, 2004, pp. 437-442.
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The Lateral Glance. From Boito to Visconti: the Structure of Vision in the Incipit of Senso, in Nicola Dusi, Francis Vanoye and Margrit Tröhler (eds.), L’adaptation cinématographique: questions de méthode, questions esthétiques – Film adaptation: methodological questions, aesthetics quaestions, Iris – Révue de théorie de l’image et du son – A Journal of theory on image and sound, n. 30, automne 2004, pp. 99-111.
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Cinema & Hypnotism: “The Phantom of the Relationship, the Poverty of Cinema and the Excesses of Hypnosis“, in Leonardo Quaresima (ed.), Dead Ends/Impasses, Cinema & Cie, International Film Studies Journal, n. 2, spring 2003, pp. 47-53
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Myst: multimedia hypertexts and film semiotics, in Iris, n. 25, Fall 1998, pp. 9-26
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El relato real. Estrategias de narrativización en la reality televisión, in Charo Lacalle (ed.), Los formatos de la televisión, DeSignis, 7/8, 2005, pp. 79-88.
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Mondi negoziabili. Il reworking del racconto nell’era del design narrativo dinamico (con Andrea Bellavita), in Nicola Dusi e Lucio Spaziante (a cura di), Remix-Remake, pratiche di replicabilità, Roma, Meltemi, 2006, pp. 157-173 (Google Scholar version)
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La semiotica contemporanea. Una breve introduzione. Aggiornamento 2012. Paper inedito.
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