With the introduction of digital media,the ability to cite, appropriate and remix cinematic images has mushroomed. In their digital, ubiquitous and dematerialized form, film images are highly malleable. Remixes, mash-ups and animated GIFs prove not only howeasy it isto appropriate film imagestoday, but also the expressive power that they still hold in their new forms. Film studies, criticism and analysis also use these newtoolsin increasingly effectiveways.
Around 2005, online video essays began to spread: worksthatstudy cinema through cinema, by re-editing and remixing film images, a practice made accessible to all thanksto awide array of digital editing software. Theseworks both look to the past (including experimental found footage, film essays and documentaries on cinema) and are “contaminated” by contemporary, hybrid and playful practices(mash-ups, re-cut trailers,supercuts, etc.). In effect,we are learning to dowith imageswhatwe have always donewithwords, as proven by academics and critics Catherine Grant, Kevin B. Lee, Matt Zoller Seitz, kogonada, Adrian Martin and Cristina Álvarez López, to name but a few. The Pesaro Film Festival has always focused on cinema as a form that is thought, and year after year has sought out not only new cinema, but also a new criticism of innovative tools and languages. Such as in the retrospectives on Thom Andersen, with his striking reflections on the image in audiovisual form, and pioneer André S. Labarthe’s groundbreaking Cinéastes de notre temps; and the 2015 video essay workshop that explored emerging forms of film criticism. In the following editions,we implemented the (Re)Edit Competition for film studentsfrom universities across the world and for the students of secondary schools.
The curators, Chiara Grizzaffi and Andrea Minuz,selected the following 6 video-essaysin the university competition for their originality and interest: SAFE BODIES, SAFE ENVIRONMENT: The Atmosphere of Todd Haynes' SAFE di Kelsey Draper (Liverpool John Moores University) Dal Noir al Neo-noir: evoluzione degli elementi stilistici di Daria De Pascale (Centro Sperimentale di Cinematografia) Between Tribute and Parody di Ludovico Vargiu (IULM) Cantant Abba: Opposing Worlds in The Two Popes di Edoardo Spallazzi (Sapienza) Persona – Portrait de la jeune fille en feu di Irene Zito (Istituto Metaform) A Touch Screen Videoessay di Erica Nobis (Università Cattolica) Among these titles, the jury composed of Rocco Moccagatta, Arianna Lodeserto, Cristiana Paternò will select the best video-essay. The work will be screened on august 29th.
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