{"id":6937,"date":"2025-05-15T14:57:32","date_gmt":"2025-05-15T12:57:32","guid":{"rendered":"https:\/\/unarchivefest.it\/?page_id=6937"},"modified":"2025-05-19T20:50:13","modified_gmt":"2025-05-19T18:50:13","slug":"animare-gli-archivi","status":"publish","type":"page","link":"https:\/\/unarchivefest.it\/en\/animare-gli-archivi\/","title":{"rendered":"Animare gli archivi"},"content":{"rendered":"

[vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”2″ bottom_padding=”0″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”187932″][vc_column column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/1″ uncode_shortcode_id=”269404″][vc_single_image media=”6940″ media_width_percent=”100″ uncode_shortcode_id=”274516″][vc_separator sep_color=”color-wvjs” type=”dotted” uncode_shortcode_id=”202264″ sep_color_type=”uncode-palette” el_height=”10″][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”115430″][vc_column column_width_percent=”100″ gutter_size=”0″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”180167″][vc_column_text uncode_shortcode_id=”109666″]<\/p>\n

Animare gli archivi<\/span><\/strong><\/h1>\n

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Painted films and collage universes<\/span><\/strong><\/h3>\n

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SCENA, SPAZIO DELLA REGIONE LAZIO
\n<\/span>Painted films. From film painting to digital practices.
\n<\/span><\/strong>May 29 7:00 pm.
\n<\/span>Introducing the curator Giacomo Ravesi
\n<\/span>Collaged universes. From cut-out to digital compositing <\/span>
\n<\/span>May 30 5:30 pm.
\n<\/span><\/strong>Introducing the curator Giacomo Ravesi
\n<\/span><\/strong><\/h4>\n

<\/span><\/strong><\/h4>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”2″ bottom_padding=”0″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”187932″][vc_column column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/1″ uncode_shortcode_id=”269404″][vc_separator sep_color=”color-wvjs” type=”dotted” uncode_shortcode_id=”202264″ sep_color_type=”uncode-palette” el_height=”10″][vc_column_text uncode_shortcode_id=”538565″]The review stems from the desire to identify a meaningful and expressively productive relationship between archival cinema and animated techniques. Following a chronological path from the 1930s to contemporary times, the selection presents paths, movements and authors that have defined paradigmatic horizons and significant emergencies towards animated archival reuse. The aim is to propose an active dialogue between usually distant disciplinary fields, such as archival documentary and animation, in order to advance unprecedented interpretative perspectives and point out transitions, genealogies and formal and conceptual persistences inherent in the same realization practices.
\n<\/span>The selection operates in a Western geographic context with films of European and North American production and is organized around two programs, each focusing on a specific figurative landscape. The first program is devoted to archival images that are freely painted. It ranges from films exhibiting direct interventions of painting, acid etching and abrasion on impressed film to electronic and digital practices of archival manipulation (infographics, AASCII code, glitching and datamoshing). The second program, on the other hand, is based on the practice of collage through works that, starting from the collage-film configuration, employ, from time to time, both the artisanal techniques of cut-out and the computerized techniques of digital compositing.
\n<\/span>The review is conceived according to a transdisciplinary orientation that holds together different languages and artistic contexts. Thus it is that historicized authors of experimental and underground cinema coexist with undisputed masters of artist and experimental animation, visual artists and video artists are brought closer to computer graphic designers, net.artists and videomakers, in order to show how the reuse of animated archives is nevertheless the child of that tension characteristic of contemporary found footage film that wants to overcome disciplinary fences by operating in the fertile and borderline places between cinema and contemporary art. <\/span><\/p>\n

Giacomo Ravesi<\/span>[\/vc_column_text][vc_separator sep_color=”color-wvjs” type=”dotted” uncode_shortcode_id=”202264″ sep_color_type=”uncode-palette” el_height=”10″][vc_empty_space empty_h=”2″][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”2″ bottom_padding=”2″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”375283″][vc_column column_width_percent=”100″ gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”128388″][vc_separator sep_color=”color-wvjs” uncode_shortcode_id=”939575″ sep_color_type=”uncode-palette” el_height=”1″][vc_column_text uncode_shortcode_id=”586610″]<\/p>\n

Painted films.
\nFrom painting <\/span>on film to digital practices<\/span><\/strong><\/h4>\n

[\/vc_column_text][vc_single_image media=”6941″ media_width_percent=”100″ uncode_shortcode_id=”142845″][vc_column_text uncode_shortcode_id=”179386″]Trade Tattoo<\/span><\/strong>
\nLen Lye \/ Uk \/ 5\u2019 \/ 1937
\nFlik Flak<\/span><\/strong>
\nJeff Keen \/ Uk \/ 4\u2019 \/ 1964-65
\nVoices<\/span><\/strong>
\nJoanna Priestley \/ Usa \/ 4\u2019 \/ 1985
\nThe Color of Love<\/span><\/strong>
\nPeggy Ahwesh \/ Usa \/ 9\u2019 \/ 1994
\nMondi magnetici<\/span><\/strong>
\nSaul Saguatti \/ Italy \/ 13\u2019 \/ 1995
\nASCII History of Moving Images<\/span><\/strong>
\nVuk \u0106osi\u0107 \/ Slovenia \/ 7\u2019 \/ 1998
\nEssere morti o essere vivi \u00e8 la stessa cosa<\/span><\/strong>
\nGianluigi Toccafondo \/ Italy \/ 3\u2019 \/ 2000
\nTwo Eastern Hair Lines<\/span><\/strong>
\nSteven Woloshen \/ Canada \/ 4\u2019 \/ 2003
\nNews<\/span><\/strong>
\nUrsula Ferrara \/ Italy \/ 4\u2019 \/ 2006
\nHome<\/span><\/strong>
\nVirginia Eleuteri Serpieri \/ Italy \/ 10\u2019 \/ 2007
\nTulips<\/span><\/strong>
\nJeff Scher \/ Usa \/ 2\u2019 \/ 2008
\nDomine Jesu<\/span><\/strong>
\nLeonardo Carrano, Alessandro Pierattini \/ Italy \/ 4\u2019 \/ 2008
\nPasolini Requiem<\/span><\/strong>
\nMario Verger \/ Italy \/ 5\u2019 \/ 2009
\nLong Live the New Flesh<\/span><\/strong>
\nNicolas Provost \/ Belgium \/ 14\u2019 \/ 2009
\nRocka-Lula-Hula<\/span><\/strong>
\nRick Raxlen \/ Canada \/ 3\u2019 \/ 2009
\nFor Pina<\/span><\/strong>
\nMichele Bernardi \/ Italy \/ 5\u2019 \/ 2015
\nJournal anim\u00e9<\/span><\/strong>
\nDonato Sansone \/ France \/ 4\u2019 \/ 2016
\nFigure. Note sull\u2019immaginario femminile di Pier Paolo Pasolini <\/span><\/strong>
\nGianluca Abbate, Angela Prudenzi \/ Italy \/ 5\u2019 \/ 2022[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_separator sep_color=”color-wvjs” uncode_shortcode_id=”939575″ sep_color_type=”uncode-palette” el_height=”1″][vc_column_text uncode_shortcode_id=”150209″]<\/p>\n

Collaged universes.
\nFrom cut-out to digital compositing<\/span><\/strong><\/h4>\n

[\/vc_column_text][vc_single_image media=”6942″ media_width_percent=”100″ uncode_shortcode_id=”193447″][vc_column_text uncode_shortcode_id=”188384″]Film No. 10 (Mirror Animations)<\/span><\/strong>
\nHarry Smith \/ Usa \/ 4\u2019 \/ 1957
\n\u00c0 la mode<\/span><\/strong>
\nStan Vanderbeek \/ Usa \/ 7\u2019 \/ 1959-60
\nRe-creation<\/span><\/strong>
\nRobert Breer \/ Usa \/ 2\u2019 \/ 1957
\nPi\u00f9<\/span><\/strong>
\nClaudio Cintoli \/ Italy \/ 10\u2019 \/ 1964
\nFrank Film<\/span><\/strong>
\nFrank Mouris \/ Usa \/ 9\u2019 \/ 1973
\nStories<\/span><\/strong>
\nC\u00e9cile Fontaine \/ France \/ 7\u2019 \/ 1989
\nStarlife<\/span><\/strong>
\nPhilippe Andrevon \/ France \/ 6\u2019 \/ 1990
\nThe Visible Compendium<\/span><\/strong>
\nLawrence Jordan \/ Usa \/ 17\u2019 \/ 1990
\nFast Film<\/span><\/strong>
\nVirgil Widrich \/ Austria, Germany, Luxembourg \/ 14\u2019 \/ 2003
\nFilm Noir<\/span><\/strong>
\nOsbert Parker \/ Uk \/ 4\u2019 \/ 2006
\nCirrus (music video Bonobo)<\/span><\/strong>
\nCyriak \/ Uk \/ 3\u2019 \/ 2013
\nSigla 52a Mostra Internazionale del Nuovo Cinema Pesaro Film Festival<\/span><\/strong>
\nVirgilio Villoresi \/ Italy \/ 1\u2019 \/ 2016
\nErodium Thunk<\/span><\/strong>
\nWinston Hacking \/ Canada \/ 3\u2019 \/ 2018
\nSkyscraper Film<\/span><\/strong>
\nFederica Foglia \/ Italy, Canada \/ 8\u2019 \/ 2023[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/1″][vc_separator sep_color=”” uncode_shortcode_id=”517819″][vc_column_text uncode_shortcode_id=”326681″]Giacomo Ravesi <\/strong>
\nGiacomo Ravesi is an associate professor in the Department of Philosophy, Communication and Performance at the University of Roma Tre. His prevalent areas of research concern avant-garde and experimental cinema and video, relations between cinema and the visual arts, music video, archival reuse, documentary and contemporary animated cinema. He is the author of the volumes: Le maschere di Dioniso<\/em> (2021), L\u2019Atalante. Immagini del desiderio <\/em> (2016) and La citt\u00e0 delle immagini<\/em> (2011). He is Film Programmer for Film Festivals and Curator of exhibitions, reviews and live performances. He is a member of the Evaluation Committee of the Piemonte Doc Film Fund – Regional Fund for Documentary Film (Film Commission Torino Piemonte) and is a member of the Accademia del Cinema Italiano – Premi David di Donatello, where he was a juror of the Selection Committee for Documentary Works (2019-2024). He has been on the Board of Directors of the Audiovisual Archive of the Workers’ and Democratic Movement Foundation since 2024.
\n<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”2″ bottom_padding=”2″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”577654″][vc_column width=”1\/1″][uncode_share layout=”multiple” bigger=”yes” separator=”yes” css_animation=”bottom-t-top” title=”share”][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

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