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de Rosa, Miriam

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de Rosa

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Miriam

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2012 - 201942020 - 20243
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Publications from this person:

Now showing 1 - 7 of 7
  • Article
    Experimenting in circles: Agfa, amateur cinema, and the art of R&D
    De Rosa, Miriam; Mariani, Andrea; de Rosa, Miriam (2023) , S. 176-195
    This article moves from small-gauge film technology manufacturing and experimental film practices to develop a twofold exploration of film and camera conceptually interlinked in a mutual cycle of experimentation. Italian filmmaker Ubaldo Magnaghi’s city symphonies provide an illustrative example: active in the early 1930s as an independent filmmaker, between 1930 and 1933 he produced five films sponsored by Agfa, which was expanding its market in Italy. Magnaghi’s experimental films were thought to stress the material resistance of cameras (an Agfa Movex 30) and the film stock (Agfa Isopan reverse). The article will shed light on the affordances offered to the filmmaker regarding the film stock’s specificities and the camera involved in the manufacturing process. Such a virtuous cycle connecting manufacturing and creativity is metaphorically reinforced on the level of aesthetics in Magnaghi’s film Symphony of Life and Work (1933), characterised by a reiterated circling camera movement. Inspired by this, we aim to craft a study that assembles the various components of the filmmaker’s work in a rounded film experience, underlining the nature of small-gauge cinema as a non-neutral yet empowering practice able to create a complex room for critical analysis eliciting new ways of looking, problematising, and therefore thinking reality.
  • Article
    Poetics and politics of the trace – Notes on surveillance practices through Harun Farocki’s work
    De Rosa, Miriam; de Rosa, Miriam (2014) , S. 129-149
    The article presents an interpretation of the discourse of surveillance after its shift from a discipline model to a control one, adopting the notion of the trace as a key concept. In this perspective Harun Farocki’s latest production works as an analytic device used by the author to explore the facets of the contemporary surveillance scenario and to couple it with a reflection on the ontology of the cinematic image. Through the prism of the director’s camera three strategies for thinking surveillance (represent, replicate, sublimate) are discussed, simultaneously suggesting a meta-cinematographic reflection on the filmic image.
  • Article
    On gesture, or of the blissful promise
    De Rosa, Miriam; de Rosa, Miriam (2019) , S. 113-128
    In this text I situate gesture within film and media studies, introducing the centrality of this notion from modernity onwards, explaining the structural connection of its analysis and the mechanisms featuring cinema, and giving an account of the main existing resources covering this field. Employing this as a basis, I propose to read gesture as a ‘blissful promise’. To do so, I examine a set of key characteristics that build towards my definition by putting gesture in relation with temporality and continuity, theory and practice, resistance, pleasure, and reconciliation.
  • Review
    ‘Non Non Non’ – Visiting the exhibition with Yervant Gianikian and Angela Ricci Lucchi
    De Rosa, Miriam; de Rosa, Miriam (2012) , S. 346-357
    Non-political, non-aesthetic, non-educational, non-progressive, non-cooperative, non-ethical, non-coherent: contemporary. It is after this list of negations that Hangar Bicocca in Milan decided to name Non Non Non, the first Italian retrospective dedicated to Yervant Gianikian and Angela Ricci Lucchi’s installations. Taken from a watercolour by the artists and placed at the entrance of the exhibition space, this formula apparently collides with the engaged, historical themes featuring the works selected by curator Andrea Lissoni with Chiara Bertola, but it perfectly synthesises the authors’ philosophy. This is what immediately emerges upon meeting them: ‘[w]e are interested in the present’, Yervant Gianikian says. ‘Our films and installations deal with those stories that defined our present as it is.’ Therefore, hard work on ancient archival reels transforms these materials into images, which acquire a new contemporary substance.
  • Review
    Theaters: Cinematic vintage magnified
    De Rosa, Miriam (2015) , S. 267-276
  • Article
    #Open: An Introduction
    Lameris, Bregt; de Rosa, Miriam; Pastor-González, Victoria; Sondervan, Jeroen (2024) , S. 4-12
    Open science represents a paradigm shift in research, aiming for accessibility, inclusivi- ty, and sustainability. Articles in this special section #Open examine a wide range of projects, practices, and research approaches that embrace these principles in multiple ways. Some delve into open practices in publishing and how they challenge traditional academic structures; others explore how digital platforms have the potential to both enable and curb the progress of open science. Several focus on the more or less implicit impact of researchers in the wider community through open education, public en- gagement, and citizen science. The selected contributions not only provide insight on the challenges and opportunities of openness in media studies, but also gather a dia- mond open collection of articles and essays, with no financial burden for readers as well as authors. In this sense, this issue concretely puts into practice the ethos that it embraces, and acts as a call to action for the larger academic community to engage in collective efforts towards sustainable open scholarship practices and models.
  • Article
    Ten years of NECSUS: A birthday card
    de Rosa, Miriam (2021-12-13) , S. 141-144