Papers on Media Semiotics

 

Lytro. The camera as hypersensor

in Comunicazioni sociali, n. 1, 2016, pp. 115-123, ISSN 0392-8667

Tags: plenoptic camera; sensors; light-field technology; computational photography;

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Neurofilmology. Film Studies and the Challenge of Neurosciences

by Adriano D’Aloia and Ruggero Eugeni. Introduction to the Special Issue #22 of the Journal Cinéma et Cie, Spring-Winter 2014

Tags: film theory; film semiotics; cognitive neurosciences; neurofilmology; story and discourse;

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Film and Enunciation

Entry of Edward Branigan, Warren Buckland (eds.), The Routledge Encyclopedia of Film Theory, London – New York, Routledge, 2014, pp. 157-161, ISBN 9780415781800

Tags: film studies; media studies; film semiotics; media semiotics; enunciation;

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Film and Rhetoric

Entry of Edward Branigan, Warren Buckland (eds.), The Routledge Encyclopedia of Film Theory, London – New York, Routledge, 2014, pp. 408-412, ISBN 9780415781800

Tags: film studies; media studies; film semiotics; media semiotics; rhetoric of film; psychanalysis of cinema

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The imaginary screen. Gestures and dispositives in film representations of hypnosis (1915-1922).

Paper invited at the workshop The Resurfacing of the Screen, Yale University, Whitney Humanities Center, 53 Wall Street, New Haven, 3-4 April 2015, to be published in Craig Buckley, Rudiger Campe, Francesco Casetti, The Excessive Screen. Optical Media, Environmental Genealogies, Amsterdam, Amsterdam U.P., 2019

Tags: hypnosis; film theory; dispositive; apparatus;

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Glassroots surveillance. Google Glass as dispositive and apparatus

Paper presented at the 2013 NECS Conference Media Politics / Political Media, Prague, June 20-22.

Tags: Google Glass; Postmedia condition; surveillance; dispositive; apparatus

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Lost memories. Regressions of Time and Style in Filmic Representations of Hypnotic Apparatus

Paper presented at the 2012 NECS (European Network for Cinema and Media Studies) Conference Time Networks: Screen Media and Memories, Lisbon, June 21- 23

Tags: hypnosis; film theory; dispositive; apparatus;

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First person shot. Technology and New Forms of Subjectivity in Post-cinema Landscape.

Paper originally presented at the Conference “The Impact of Technological Innovations on the Historiography and Theory of Cinema” Montreal, November 1-6 2011. This text, entirely re-written, has been published in French as “Le plan à la première personne. Technologie et subjectivité dans le paysage postcinematographique”, in André Gaudreault et Martin Lefebvre (dirs.), Techniques et technologies di cinéma. Modalités, usages et pratiques des dispositifs cinématographiques à travers l’histoire, Rennes, Presses Universitaires de Rennes, 2015, pp. 195-208 ISBN 9782753535763 ISSN 21035407;  and in English as “Remediating the presence. First person Shot and post-cinematic subjectivity”, in Tiziana Migliore (ed.), Rimediazioni. Immagini interattive. Tomo 1, Ariccia (RM), Aracne, 2016, pp. 205-218, ISBN 9788854893320 DOI 10.4399/978885489332011

Tags: media; experience, semiotics; first person shot; videogames; subject; subjectivity

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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

tags: semiotics; media; consciousness; experience; situated cognition; embodiment; media studies;

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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.

Tags: semiotics; experience; sociability; urban space; global cities; territory; Eva and Franco Mattes;

Download the pdf fileSee related images at www.0100101110101101.org | Read on NECS site (you need a password)


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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7 thoughts on “Papers on Media Semiotics

  1. I have to concur with the prior commenter that Your work is, indeed, special :) My ongoing work with my PhD dissertation delves partially on the matters of how what You aptly refer to as “relation tuning’ with characters and other recipients on the Internet could be sufficiently theorized about. It’s a complicated path because it goes against the mainstream thought which discourages any attempts to perceive “subjects” as existing in their world (cf. Murray Smith’s claim that character is non-existing and only your mental construct, whereas all that you see (perceive) is actor-as-character; Smith 1998). (Though empirical evidence clearly suggests otherwise.) I did find relevant work from German scholars (e.g. Wulff) who recover and elaborate on the classic concept of ‘parasocial interaction’, but that’s about it. For now, I’ve only read the main article where You offer Your key theoretical points, but I already feel as if Your ideas can be immensely useful for me. Thanks a lot!

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  2. Thank you for your comment! If you want I’ll send you Paticia Pisters’ essay for the special issue of Cinema e Cie me and Adriano d’Aloia are editing, which regards exactly the issue you are interested in. I’m very interested in your work, please keep me informed on it! Write to my e mail ruggero.eugeni@unicatt.it (it’s easier for me to check it). Best!

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  3. Thank You very much for such a prompt and inspiring reply! Yes, I would definitely be interested in the essay by Pisters (not at all familiar with the author, though). Please send it to a30663@ut.ee. I’ll also save Your e-mail for further communication!

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