Luisella Farinotti

Graduated in Philosophy at the University of Milan with a thesis on the ontological problem in E. Bloch, Th. W. Adorno and J. Habermas, she then obtained a postgraduate degree in Social Communications - Performance at the Catholic University of the Sacred Heart in Milan, with a thesis on the problem of time in modern German cinema.

She teaches Film Aesthetics at the degree course in Communication, Media and Advertising; Media Aesthetics at the degree course in Arts, Entertainment and Cultural Events; Filmology at the degree course in Cinema, Television and New Media.

Since 1995, she has taught at IULM University both for the degree course in Communication Sciences (History of Italian Cinema; History, Aesthetics and Film Criticism, Digital Imaginaries) and for the degree course in Communication in the Art and Culture Markets (Art Media; Forms of Artistic Representation).
From 1998 to 2005, she taught at the Faculty of Letters and Philosophy of the Catholic University (Milan and Brescia offices: Institutions of cinema and audiovisual; History and criticism of cinema; History and historiography of media); she also taught at the degree course in Industrial Design of the Politecnico di Milano (Sociology of communication), at the Master's degree course in Analysis and design of the television product of the High School in Communication of the Catholic University of Milan (Media Imaginaries and Cultural Industry). At the same University she also held courses for the Master in Audiovisual Communication (2006-2008) and for the School of Specialization in Analysis and Management of Communication (1999-2001).

She has participated in national research projects (Miur, Cofin, Prin -1997/99; 1999/2001; 2002/2004; 2008/2009) on I processi di rinnovamento dei "quadri" nel cinema italiano; on Le tecnologie nel cinema; on Discorsi sociali, soggetti mediali e costruzione del sapere tecnologico: il caso della diffusione della cultura informatica e telematica in Italia; and on Culture marginali e industria culturale in Italia.
She has carried out research activities for Rai, VQPT, the Culture Sector of the Lombardy Region, the Fondazione Cineteca Italiana, the Fondazione Cariplo, the Associazione Interessi Metropolitani di Milano.
From 1996 to 1999, she was responsible for the research activities of the Observatory on Communication of the Catholic University of Milan, directed by Fausto Colombo.

She is currently scientific director, with Gianni Canova, of the European project Teaching European History through Cinema. - Creative Europe - Media Programme (Call: EACEA 25/2016).

She is a member of the Scientific Committee of CISA - International Conservatory of Audiovisual Sciences, Lugano SSSC; of the Executive Committee of Self Media Lab. International Research Centre on Writing, Performance and Self-Technology at the Department of Humanities at the University of Pavia; and of the Scientific Committee of Balthazar, Centre for Film Studies at the Visual Arts Centre of the University of Bergamo.

She is vice-director of the Department of Communication, Arts and Media at IULM University.

She is a member of the Doctoral College in Visual and Media Studies, Iulm University. From 2011 to 2017 she was a member of the Doctoral College in Communication and New Technologies at Iulm University. From 2013 to 2017 she was in the Doctoral College in Literature and Media: Narrativity and Languages of the same University.

She is on the Management Committee of the peer reviewed magazine "Cinéma & Cie. International Film Studies Journal" (Mimesis International); in the scientific-editorial committee of the peer reviewed magazine Polifemo (Liguori); in the scientific committee of the series of studies on cinema "Cinergie" (Mimesis) and in the scientific committee of the peer reviewed magazine "Cinergie- the cinema and other arts"; is a member of the Steering Committee of the Afterimage Series - Themes of visual culture, (Aracne).

In recent years she has worked on image theory and history, in particular the relationship between image and memory, writing about the self and family films and the relationship between cinema and photography, with special attention to the photographic archives used as great visual atlases (in Harun Farocki, Gerhard Richter and Linda Fregni Nagler, among others). One of the first to study Gianikian cinema and the experiences of the Found Footage Film in Italy, she dealt with the relationship between cinema and history and political cinema - from 2009 to 2016 she was responsible for the column "Cinepolitica" of the quarterly magazine "ComPol Comunicazione Politica", published by Il Mulino. A scholar of modern German cinema and Edgar Reitz, she has carried out research on Italian cinema, both in the 1960s and 1970s and in contemporary Italian cinema.

Main areas of scientific interest

Theories of image and visual culture

The relationship between image and memory, not only in a historical or testimonial sense.

Amateur practices and non-theatrical production

Self-Writing and Family Movies

The relationship between cinema and photography: between film and photography, between still and moving images.

Atlases, collections and visual inventories: rewriting as an artistic practice, the catalogue as a cultural form.

The image of the body, the body as an image.

The geography of cinema.

Although IULM University applies all necessary diligence to ensure the publication of correct, updated and complete information, it is not responsible for the contents of the curricula published online on the Portal www.iulm.it

The owner of this curriculum vitae is solely responsible for the correctness and truthfulness of the information contained therein.

Although IULM University takes all necessary care to ensure the publication of correct, updated and complete information, it is not responsible for the contents of the curricula published online on the Portal www.iulm.it. The holder of this curriculum vitae is the exclusive guarantor and responsible for the correctness and truthfulness of the information contained therein.

VOLUMI E CURATELE

-Harun Farocki. Pensare con gli occhi. (a cura di, con B. Grespi e F. Villa), Mimesis, Milano-Udine 2017.

-Overlapping Images. Between Cinema and Photography, “Cinéma et Cie. International Film Studies Journal”, n. 25, Fall 2015 (2016 , con B. Grespi e B. Le Maître)

-Atlante del cinema italiano. Paesaggi, corpi, figure del contemporaneo, Garzanti, Milano 2011 (curatela con G. Canova)

-Il metodo e la passione. Cinema amatoriale e film di famiglia in Italia, numero monografico di “Comunicazioni sociali”, n. 3, 2005 [2006] (curatela con E. Mosconi).

-Il futuro dietro le spalle. Tempo e storia nel cinema di Edgar Reitz, Edizioni Unicopli, Milano 2005.

-Territori di confine. Contributi per una cartografia dei generi cinematografici, numero monografico di “Comunicazioni Sociali”, n. 2, 2002 [2003] (curatela con R. Eugeni).

-I margini della cultura. Media e innovazione, Angeli, Milano 2001 (con F. Colombo e F. Pasquali).

 

SAGGI IN RIVISTE SCIENTIFICHE DI FASCIA A

-Ri-animare l’inanimato: cadaveri, statue e corpi redenti, nelle immagini, in “Cinergie. Il cinema e le altre arti”, 12, 2017, pp. 235-248. https://doi.org/10.6092/issn.2280-9481/7353

-Suspended Evidence: Rethinking the Photographic, in Overlapping Images. Between Cinema and Photography, “Cinéma et Cie. International Film Studies Journal”, n. 25, Fall 2015, (2016) pp. 9-27 (con B. Grespi e B. Le Maître)

-«Wir wollen uns mit den Bildern unseres Landes befassen». Documents, Fetishes, Icons, Relics: the Reconstruction of the German Autumn as an Image, in A. Cati, V. Sánchez-Biosca (eds.), Archives in Human Pain. Circulation, Persistence, Migration, “Cinéma et Cie. International Film Studies Journal”, n. 24, Spring 2015, pp. 63-77.

-Fuori di Sé. Identità e immagine, in A. Cati, G. Franchin (a cura di), L’impulso autoetnografico. Radicamento e riflessività nell’era intermediale, “Comunicazioni sociali”, n 3, 2012, pp. 446-458.

-Miriam Hansen, Cinema and Experience. Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno, in “Cinéma & Cie. International Film Studies Journal”, Vol. XII, n. 19, Fall 2012, pp. 151-153.

-L’Italia, sullo schermo, in “ComPol – Comunicazione Politica”, 1/2011, pp. 121-138 (con E. Gipponi e R. Moccagatta).

- La ri-scrittura della storia: “Un’ora sola ti vorrei” di Alina Marazzi e la memoria delle immagini, in Il metodo e la passione, “Comunicazioni sociali”, n. 3, 2005, pp. 497-502. (pubblicazione 2006)

 

SAGGI IN VOLUMI E ARTICOLI IN RIVISTE SCIENTIFICHE 

-Posizioni di confine, in L. Farinotti, B. Grespi, F. Villa (a cura di), Harun Farocki. Pensare con gli occhi, Mimesis, Milano 2017, pp. 309-318.

-La politica delle immagini nell’opera di Harun Farocki, in Harun Farocki. Pensare con gli occhi, Mimesis, Milano 2017, pp. 11-25 (con B. Grespi e F. Villa).

-L’evidenza della superficie, in R. Eugeni, M. Fanchi (a cura di), La galassia Casetti, Vita e Pensiero - Ricerche, Milano 2017, pp. 115-119.

-Geografia del cinema italiano, in A. Grasso (a cura di), Storia della comunicazione e dello spettacolo in Italia – Vol. III I Media alla sfida della convergenza (1978-2016), Vita & Pensiero, Milano 2017, pp. 161-165.

-Political Cinema, in The International Encyclopedia of Political Communication, Wiley-Blackwell, Malden MA (USA) 2016, pp. 1-14

-La questione dell’autore, in F. Colombo –R. Eugeni (a cura di), Storia della comunicazione e dello spettacolo in Italia – Vol. II. I Media alla sfida della democrazia (1945-1978), Vita & Pensiero, Milano 2015, pp. 167-171.

-La catastrofe del passato. Identità tedesca e forme del trauma nel cinema di R. W. Fassbinder, in L. Venzi (a cura di), Nuovo Cinema Tedesco. (Junger/Neuer deutscher Film). 17 studi, Edizioni Fondazione Ente dello Spettacolo, Roma 2014 (con Ruggero Eugeni), pp. 189-211.

-Piero Portaluppi, in V. Trione (a cura di), Il cinema degli architetti, Johan & Levi Editore, Milano 2014, pp. 182-185.

- Album di famiglia: la memoria degli oggetti, in L. Malavasi (a cura di), Italia, cinema di famiglie. Storia, generi e modelli, “Quaderni del CSCI/9. Rivista annuale di cinema italiano”, 2013, pp. 240-242.

-In-vece di un’introduzione. Atlanti, cartografie, enciclopedie visive: mappe dell’immaginario cinematografico italiano, in G. Canova –L. Farinotti (a cura di), Atlante del cinema italiano, Garzanti, Milano 2011, pp. XI-XXVI

-Elephant, in B. Grespi (a cura di), Gus Van Sant, Marsilio, Venezia 2011, pp. 95-114 e 136-137.

-Comedy, in L. Bayman (ed.), Directory of World Cinema. Italy, Intellect, Bristol/UK-Chicago/USA 2011, pp. 109-111 (anche cura del capitolo, pp. 109-131).

-La messa in scena della felicità: film di famiglia e pratiche di riscrittura della memoria nel cinema di Found Footage, in L. Gandini, D. Cecchin, M. Gentilini (a cura di), Memorie riflesse. Lo schermo tra vero e falso, Fondazione Museo Storico del Trentino, Trento 2010, pp. 51-58

-Memorie di copertura. Il cinema di Yervant Gianikian e Angela Ricci Lucchi come catalogo dell’orrore della storia, in B. Grespi (a cura di), Memoria e immagini, “Locus solus”, Bruno Mondadori, Milano 2009, pp. 49-66.

- Il volto dell’Italia che cambia. Corpi, attori, maschere sociali nel cinema moderno, in La cultura italiana, diretta da L. Cavalli Sforza, Vol. IX, UTET, Torino 2009, pp. 512-529.

-Straub-Huillet e gli altri. Cineasti stranieri in Italia in F. De Bernardinis (a cura di), Storia del cinema italiano, vol. XII – 1970/1976, Marsilio - Edizioni di Bianco & Nero, Roma -Venezia 2008, pp. 486-495.

- Una storia americana. I labirinti della memoria e la verità delle immagini, in A. Bellavita – L. Gandini (a cura di), Ventuno per undici. Fare cinema dopo l’11 settembre, Le Mani, Recco-Genova 2008, pp. 66-76.

- Le verità nascoste, in G. Canova (a cura di), Robert Zemeckis, Marsilio, Venezia 2008, pp. 97- 110 e 119-121.

- Ricominciare ogni volta: il tempo come infinita serie di inizi nella trilogia di Heimat, in T. Subini (a cura di), Cronaca di un secolo concluso. La trilogia di Heimat di Edgar Reitz, Temi, Trento 2007, pp. 75-101.

-L’enigma delle cose. Gli oggetti e la catastrofe della Storia nel cinema di Marco Ferreri degli anni Sessanta, in L’immaginario degli oggetti, a cura di F. Franchi, “Locus solus”, Bruno Mondadori, Milano 2007, pp. 139-157.

- Il rovescio delle cose: oggetti, reperti, segni del sociale, in G. Canova (a cura di), Storia del cinema italiano, vol. XI – 1965/1969, Marsilio - Edizioni di Bianco & Nero, Venezia 2002, pp. 262-271.

- Sugarland express o l’impossibilità del ritorno, in E. Alberione (a cura di), Incubi e meraviglia. Il cinema di Steven Spielberg, Unicopli, Milano 2002, pp. 113-119.

- L’officina del visibile: tracce dell’immaginario cinematografico lombardo, in D. Bigazzi, M. Meriggi (a cura di), Storia d’Italia. Le regioni dall’unità a oggi - La Lombardia, Grandi Opere - Einaudi, Torino 2001, pp. 1099-1124.

- L’autore cinematografico, in F. Colombo –R. Eugeni (a cura di), Il prodotto culturale, Carocci, Roma 2001, pp. 167-190.

 

 

 

 

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Il titolare del presente curriculum vitae è garante e responsabile in via esclusiva della correttezza e veridicità delle informazioni in esso riportate.

 

Although IULM University takes all necessary care to ensure the publication of correct, updated and complete information, it is not responsible for the contents of the curricula published online on the Portal www.iulm.it. The holder of this curriculum vitae is the exclusive guarantor and responsible for the correctness and truthfulness of the information contained therein.

COURSES 2021/2022

Bachelor of Science in Arts, Media, Cultural Events

- Media aesthetics

Bachelor of Science in Communication, Media and Advertising

- Aesthetics of cinema

Master's Degree in Television, Cinema and New Media

Film studies

- Filmology

COURSES 2020/2021

Bachelor of Science in Communication, Media and Advertising

Cultures and history of cinema

- Aesthetics of cinema

Bachelor of Science in Arts, Media, Cultural Events

-  Media aesthetics

Master's Degree in Television, Cinema and New Media ( Address: Cinema and New Technologies)

Film studies

- Filmology

- Critical writing for cinema and performing arts workshop

COURSES 2019/2020

Bachelor of Science in Communication, Media and Advertising

- History and aesthetics of cinema

Bachelor of Science in Arts, Performing Arts, Cultural Events

-Media Aesthetics

Master's Degree in Television, Cinema and New Media (Degree Course: Cinema and New Technologies)

- Film studies

COURSES 2018/2019

Bachelor of Science in Communication, Media and Advertising

- History and aesthetics of cinema

Bachelor in Arts, Performing Arts, Cultural Events

- Media Aesthetics

Master's Degree in Television, Cinema and New Media (Degree Course: Cinema and New Technologies)

- Film studies

COURSES 2017/2018

Bachelor of Science in Communication, Media and Advertising

History and aesthetics of cinema
- Aesthetics of cinema

Bachelor in Arts, Design and Entertainment

- Media Aesthetics

Master's Degree in Television, Cinema and New Media (Degree Course: Cinema and New Technologies)

Laboratory of filmology
- Filmology

COURSES 2016/2017

Bachelor of Science in Communication, Media and Advertising

History and aesthetics of cinema
- Aesthetics of cinema

Bachelor in Arts, Design and Entertainment

- Media Aesthetics

Master's Degree in Television, Cinema and New Media (Degree Course: Cinema and New Technologies)

Laboratory of filmology
- Filmology

COURSES 2015/2016

Bachelor of Science in Communication, Media and Advertising

History and aesthetics of cinema
- Aesthetics of cinema

Bachelor in Arts, Design and Entertainment

- Media Aesthetics

Master's Degree in Television, Cinema and New Media (Degree Course: Cinema and New Technologies)

Laboratory of filmology
- Filmology

COURSES 2014/2015

Bachelor of Science in Communication, Media and Advertising

History and aesthetics of cinema
- Aesthetics of cinema

Bachelor of Science in Arts, Design and Entertainment (in common with the Bachelor of Science in Communication in Art and Culture Markets)

- Media Aesthetics

Master's Degree in Television, Cinema and New Media (Address: Cinema and New Technologies)

Laboratory of filmology
- Filmology

COURSES 2013/2014

Bachelor of Science in Communication in the Art and Culture Markets

— Media Aesthetics

Degree Course in Communication, Media and Advertising

- History and aesthetics of cinema

Master's Degree in Television, Cinema and New Media

- Imagine the digital age

COURSES 2012/2013

Bachelor of Science in Communication, Media and Advertising
- History and Aesthetics of Cinema

Master's Degree e in Arts, Heritage and Markets
- Media Aesthetics

COURSES 2011/2012
Degree Course in Communication, Media and Advertising
History, Criticism and Aesthetics of Cinema

- Aesthetics and Criticism of Cinema

Master's Degree in Arts, Heritage and Markets
- Media Aesthetics

Although IULM University applies all necessary diligence to ensure the publication of correct, updated and complete information, it is not responsible for the contents of the curricula published online on the Portal www.iulm.it

The owner of this curriculum vitae is solely responsible for the correctness and truthfulness of the information contained therein.