{"id":9172,"date":"2026-03-31T11:11:15","date_gmt":"2026-03-31T09:11:15","guid":{"rendered":"https:\/\/unarchivefest.it\/?page_id=9172"},"modified":"2026-05-05T10:23:02","modified_gmt":"2026-05-05T08:23:02","slug":"coreografie-darchivio","status":"publish","type":"page","link":"https:\/\/unarchivefest.it\/en\/coreografie-darchivio\/","title":{"rendered":"Coreografie d’archivio"},"content":{"rendered":"

[vc_row unlock_row_content=”yes” 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″ content_parallax=”0″ uncode_shortcode_id=”155357″][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=”10170″ media_width_percent=”100″ uncode_shortcode_id=”110999″][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=”169786″]<\/p>\n

Coreografie d’archivio<\/span><\/strong><\/h1>\n

[\/vc_column_text][vc_empty_space empty_h=”2″][vc_column_text uncode_shortcode_id=”207246″]<\/p>\n

Creative reuse of the dance<\/span><\/strong><\/h5>\n

[\/vc_column_text][vc_empty_space empty_h=”3″][vc_column_text uncode_shortcode_id=”174979″]In partnership with<\/em> LIPSER. Laboratorio interdisciplinare di pratiche della scena e della ricerca – Universit\u00e0 degli Studi Roma Tre[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text uncode_shortcode_id=”136940″]INTRASTEVERE CINEMA \u2013 Room 2, May 28, 8 p.m.<\/strong><\/span>
\nMovimenti<\/em>
\nIntroduced by the curator<\/strong><\/span><\/p>\n

CINEMA INTRASTEVERE – Room 2, May 29, 4 p.m.
\n<\/strong><\/span>Metronomi<\/span><\/em>
\n<\/span>Introduced by the curator<\/span><\/span><\/strong><\/p>\n

\u00a0<\/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=”387845″]The programme offers a significant and unusual comparison between two artistic and disciplinary fields that are usually kept separate: found footage film and dance. Viewed from an interdisciplinary perspective, these artistic realms reveal a shared compositional and structural model, based on the practice of editing and visual collage. The idea is to transform and reposition filmed movement \u2013 of a body or an object, in a specific space and time \u2013 into a new formal and figurative choreography.
\nFollowing a chronological trajectory from the 1930s to the present day, the selection demonstrates how the most experimental practices of reusing archive film have found in dance imagery a vast repertoire of figurative and rhythmic forms and motifs to be reworked: from ballet to opera, from contemporary dance to video-music, from sports choreography to military parades, from video scratches to social ballets, right up to split-screen web videos.
\nThe programme is situated within a Western geographical context, featuring films predominantly from European and North American production, and is divided into two programmes, each centred on a specific formal motif. The first, Movements, is dedicated to the creative reuse of dance archives and highlights both the principles of perception and representation of movement in cinema \u2013 from pre-cinematic devices to animated forms \u2013 and the styles, techniques and choreographic figures steeped in history, ranging from jazz dance to but\u014d, from Fred Astaire and Ginger Rogers to Pina Bausch. The second, *Metronomi*, is instead based on a musical and choreographic reinterpretation of various archival repertoires, in which a rhythmic and choreographic organising tension emerges: from phantom rides to the urban landscape, from sporting to musical performances, right through to TikTok reels.
\nThe breadth of the field of inquiry and the transdisciplinary approach allow experimental and underground filmmakers to coexist with artists of experimental animation, just as visual artists and video artists engage in dialogue with musicians, dancers and performers. The aim is to foster an active dialogue between diverse fields, such as archival cinema and the performing arts, in order to outline novel interpretative perspectives and highlight transitions, genealogies, and formal and conceptual continuities inherent within the practices themselves.[\/vc_column_text][vc_column_text uncode_shortcode_id=”190859″]<\/p>\n

I would like to extend my special thanks to Federica Foglia, Eve Heller and Peter Tscherkassky for their film recommendations.<\/em><\/h6>\n

[\/vc_column_text][vc_column_text uncode_shortcode_id=”284546″]Giacomo Ravesi[\/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_single_image media=”10172″ media_width_percent=”100″ media_ratio=”four-three” uncode_shortcode_id=”880461″][vc_column_text uncode_shortcode_id=”868384″]<\/p>\n

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

[\/vc_column_text][vc_column_text uncode_shortcode_id=”575551″]Rainbow Dance<\/span><\/i>
\n<\/span>Len Lye \/ UK \/ 1936 \/ 3\u2019<\/span><\/p>\n

Cosmic Ray
\n<\/span><\/i>Bruce Conner \/ USA \/ 1962 \/ 4\u2019<\/span><\/p>\n

Ballet 16
\n<\/span><\/i>Peter Tscherkassky \/ Austria \/ 1984 \/ 4\u2019<\/span><\/p>\n

Japon Series
\n<\/span><\/i>C\u00e9cile Fontaine \/ France \/ 1991 \/ 7\u2019<\/span><\/p>\n

La pista
\n<\/span><\/i>Gianluigi Toccafondo \/ Italy \/ 1991 \/ 2\u2019<\/span><\/p>\n

Dance Number 22
\n<\/span><\/i>Raphael Monta\u00f1ez Ortiz \/ USA \/ 1993 \/ 8\u2019<\/span><\/p>\n

Yours
\n<\/span><\/i>Jeff Scher \/ USA \/ 1998 \/ 3\u2019<\/span><\/p>\n

Yes, I Said Yes, I Will, Yes<\/i>
\nPhil Solomon \/ USA \/ 1999 \/ 3\u2019<\/p>\n

Zoopraxiscope
\n<\/span><\/i>Hieronim Neumann \/ Poland \/ 2005 \/ 12\u2019<\/span><\/p>\n

Sem <\/i>T\u00edtulo<\/i><\/span> #1: Dance of Leitfossil<\/i>
\nCarlos Adriano \/ Brasil \/ 2014 \/ 6\u2019<\/p>\n

For Pina
\n<\/span><\/i>Michele Bernardi \/ Italy \/ 2015 \/ 5\u2019<\/span><\/p>\n

Disco
\n<\/span><\/i>Boris Seewald (per Ralf Hildenbeutel) \/ Russia \/ 2016 \/ 2\u2019<\/span><\/p>\n

Twist Into Any Shape
\n<\/span><\/i>Donato Sansone (per C’mon Tigre) \/ Italy \/ 2022 \/ 4\u2019<\/span><\/p>\n

Balancing Act
\n<\/span><\/i>Federica Foglia \/ Italy, Canada \/ 2025 \/ 7\u2019 <\/span>[\/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_single_image media=”10171″ media_width_percent=”100″ media_ratio=”four-three” uncode_shortcode_id=”187662″][vc_column_text uncode_shortcode_id=”167690″]<\/p>\n

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

[\/vc_column_text][vc_column_text uncode_shortcode_id=”161508″]Lambeth Walk: Nazi Style<\/em>
\nCharles A. Ridley \/ UK \/ 1941 \/ 2\u2019<\/p>\n

7362<\/em>
\nPat O’Neill \/ USA \/ 1967 \/ 10\u2019<\/p>\n

Under Pressure<\/em>
\nDavid Mallett, Andy Morahan (per Queen & David Bowie) \/ UK \/ 1982 \/ 4\u2019<\/p>\n

Abscence of Satan <\/em>
\nGeorge Barber \/ UK \/ 1985 \/ 5\u2019<\/p>\n

Dolce vagare in sacri luoghi selvaggi<\/em>
\nRoberto Nanni \/ Italy \/ 1989 \/ 11\u2019<\/p>\n

Filmarilyn<\/em>
\nPaolo Gioli \/ Italy \/ 1992 \/ 9\u2019<\/p>\n

The Curse of the Voodoo Child <\/em>
\nSteven Woloshen \/ Canada \/ 2005 \/ 4\u2019<\/p>\n

Outerborough <\/em>
\nBill Morrison \/ USA \/ 2005 \/ 9\u2019<\/p>\n

Ali in the Jungle<\/em>
\nJonas Odell\u00a0 (per The Hours) \/ UK \/ 2007 \/ 4\u2019<\/p>\n

Delia Derbyshire, Loop Composer<\/em>
\nAK_Alias \/ UK \/ 2011 \/ 6\u2019<\/p>\n

Real<\/em>
\nGianluca Abbate (per Adele Tulli) \/ Italy \/ 2024 \/ 5\u2019[\/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=”193251″]Giacomo Ravesi
\n<\/strong>Giacomo Ravesi is an associate professor in the Department of Philosophy, Communication and Performing Arts at Roma Tre University. His main areas of research include avant-garde and experimental cinema and video, the relationship between cinema and the visual arts, music videos, the reuse of archive material, documentary film, and contemporary animated cinema. He is the author of the books: Le maschere di Dioniso<\/em> (2021), L\u2019Atalante. Immagini del desiderio<\/em> (2016) and La citt\u00e0 delle immagin<\/em>i (2011). He is a film programmer for film festivals and a curator of exhibitions, film series and live performances. He is a member of the Accademia del Cinema Italiano \u2013 David di Donatello Awards, where he served on the Selection Committee for documentary works (2019\u20132024). Since 2024, he has been on the Board of Directors of the Audiovisual Archive of the Democratic and Labour Movement.[\/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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