Mariachiara Grizzaffi
Contacts
Individual tutorial
Timetable
Chiara Grizzaffi received her PhD from the IULM University of Milan in 2015, with a thesis on online video essays, an audiovisual form of analysis and film criticism. Since 2009, she has been collaborating in the teaching activities of the Department of Arts and Media at IULM University, giving lectures and seminars on the history and language of cinema. In 2015, she was awarded additional courses on multimedia approaches to film history and analysis.
Her volume, I film attraverso i film. From the unobtainable text to the video essays, is currently being published for Mimesis. Her essays have appeared in "Bianco e Nero" and in the volumes Critofilm. Cinema che pensa il cinema, curated by Adriano Aprà (Pesaro Nuovo Cinema, 2016), La costruzione dell'immaginario seriale contemporaneo. Heterotopias, characters, worlds, edited by Sara Martin (Mimesis, 2014) and Voglia di cinema. Communication and promotion of the film in Italy, by Gianni Canova (Forum, 2013). She has collaborated with the magazines "Duellanti" and "8 e ½".
She is co-editor of "[in]Transition", the first academic magazine dedicated to the publication of videos on cinema and media, and member of the editorial staff of "Cinergie" and "L'avventura". She is co-editor of the Cinepolitica column of the magazine "ComPol", published by Il Mulino.
Areas of scientific interest
Audiovisual forms of research, analysis and criticism of the film
Practices of appropriation and reuse of cinematic images
Grammar of audiovisual languages
History and practice of film criticism (with particular attention to multimedia and network forms)
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, and 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.
Monografie
I film attraverso i film. Dal “testo introvabile” ai video essay, Mimesis, Milano-Udine 2017.
Curatele (una selezione)
Mino Guerrini. Storia e opere di un arcitaliano, Mimesis, Milano-Udine 2022, con Rocco Moccagatta.
«[in]Transition – Journal of Videographic Film and Moving Image Studies», Issue 6.1, 2019, <http://mediacommons.org/intransition/intransition-journal-videographic-film-moving-image-studies-61-2019-6>.
«[in]Transition – Journal of Videographic Film and Moving Image Studies», Issue 5.4, 2018, <http://mediacommons.org/intransition/journal-videographic-film-and-moving-image-studies-54-2019>.
Videographic Film Studies: Criticism, Analysis and Theory in the Age of Software Culture, Cinergie n. 13, giugno 2018, <https://cinergie.unibo.it/issue/view/714>, con Andrea Minuz.
Articoli in rivista (una selezione)
Culture della produzione e (auto)rappresentazioni: interrogare le fonti audiovisive, “L'avventura”, anno 7, numero speciale 2021.
Poeticizing The Academy: Poetic Approaches to The Scholarly Audiovisual Essay, “The Cine-Files”, Issue 15, Fall 2020, <http://www.thecine-files.com/poeticizing-the-academy/>.
“I have the impression that there are secrets”: memoria, identità femminile e materialità delle immagini nel documentario contemporaneo, in “Imago - Studi di cinema e media”, n. 20, 2020.
“Accidental” Postproduction and Acts of Remembering in Stand By For Tape Back-up, By Ross Sutherland, «Cinergie», n. 11, 2017, <https://cinergie.unibo.it/issue/view/649>.
Dal taccuino del critico alla timeline digitale, il rimontaggio del film come pratica di analisi, “Bianco e Nero”, n. 584, gennaio-aprile 2016.
Between Freedom and Constraints: What I Learned from Teaching Video Essays, Tracy Cox-Stanton (ed.), The Video Essay: Parameters, Practice, Pedagogy, “The Cine-Files”, Issue 7, Fall 2014, <http://www.thecine-files.com/grizzaffi/>.
Saggi o capitoli in volume (una selezione)
“Il cinema è uno solo”: il Guerrini giornalista e l’industria del cinema, in Chiara Grizzaffi, Rocco Moccagatta (a cura di), Mino Guerrini. Storia e opere di un arcitaliano, Mimesis, Milano-Udine 2022.
Quel che persiste sugli schermi. Segnali e lasciti di 2001 nelle serie televisive e sul web, in Marco Dalla Gassa, Flavio Gregori (a cura di), 2001: Odissea nello spazio. Percorsi dentro, attorno e oltre il film di Stanley Kubrick, Diabasis, Parma 2021.
Foregrounding the Invisible: Notes on the Video Essay Review, in Lisa Patti (ed.), Writing about Screen Media, Routledge, London 2019.
Per una critica delle immagini con le immagini: «Cinema&Film», in Paolo Giovannetti (a cura di), Periodici del Novecento e del Duemila fra avanguardie e postmoderno, Mimesis, Milano-Udine 2018.
Harun Farocki alla “fabbrica delle salsicce”: The Double Face of Peter Lorre, in Luisella Farinotti, Barbara Grespi, Federica Villa (a cura di), Harun Farocki. Pensare con gli occhi, Mimesis, Milano 2017.
Dal critofilm al video essay: scritture per immagini in rete, in Adriano Aprà (a cura di), Critofilm. Cinema che pensa il cinema. Mostra del Nuovo Cinema di Pesaro (ebook, giugno 2016).
Videosaggi (una selezione)
Breath of the Real. Intimacy Between Characters and Camera in Carpignano’s Cinema, “Wide Angle Dossier”, Film Fest Gent On Tour, con Astrid Ardenti, <https://www.filmfestival.be/en/news/ffg-wide-angle-video-essay-a-chiara-breath-of-the-real?fbclid=IwAR0BMgj1w2GfsGQal6mwDDX0xnV6Hwk-I4hz2tCeHjYea7TZHj10v63v1gc>.
Stories of Haunted Houses. Women and Domestic Space in Contemporary Gothic Film and TV Series, “[in]Transition. Journal of Videographic Film & Moving Image Studies”, 8.2, 2021, con Giulia Scomazzon, <https://mediacommons.org/intransition/stories-haunted-houses-female-subjects-and-domestic-spaces-contemporary-gothic-films-and-tv-series>.
Pur applicando tutte le necessarie diligenze volte a garantire la pubblicazione di informazioni corrette, aggiornate e complete, l’Università IULM non è responsabile dei contenuti riportati nei curricula pubblicati online sul Portale www.iulm.it.
Il titolare del presente curriculum vitae è garante e responsabile in via esclusiva della correttezza e veridicità delle informazioni in esso riportate.
COURSES 2019/2020
Master's Degree Course in Television, Cinema and New Media
Film studies
Critical writing workshop for cinema and entertainment
COURSES 2018/2019
Master's Degree Course in Television, Cinema and New Media
Film studies
Critical writing workshop for cinema and entertainment
COURSES 2016/2017
Master's Degree Course in Television, Cinema and New Media
- Filmology workshop:
Critical writing workshop for cinema and entertainment