Papers on Media Semiotics

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 (work version)

tags: film; film and media; theory; cognitive neurosciences; neurofilmology;

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The imaginary screen. Gestures and dispositives in filmic representations of hypnosis (1915-1922).  Paper invited at The Resurfacing of the Screen, A workshop based on a projet by Craig Buckley, Rudiger Campe and Francesco Casetti, Yale University, Whitney Humanities Center, 53 Wall Street, New Haven, 3-4 April 2015

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, is going to be published in « Techniques et Technologies. Modalités du dispositif cinématographique à travers l’histoire », sous la direction d’André Gaudreault et Martin Lefebvre, Rennes, Presses Universitaire de Rennes, à paraitre.

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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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.tags: 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.

tags: 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)

tags: semiotics; experience; sociability; film studies; film canon;

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“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).

tags: semiotics; experience; embodiment; cinema; photography; Antonioni; Merleau Ponty; Blow Up

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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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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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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 quaestionsIris – 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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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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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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6 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!


  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 (it’s easier for me to check it). Best!


  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 I’ll also save Your e-mail for further communication!


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