Andrea Mariani
DIUM
La vita di un uomo, da queste parti, è spesso legata al filo di un’informazione.
dal film Per un pugno di dollari (1964) di Sergio Leone
Andrea Mariani
Cinema, fotografia, radio, televisione e media digitali (PEMM-01/B)
- Ricercatore
- Tel: 0432 556611
- Email: andrea.mariani@uniud.it
- Studio: Casa Solari, second floor, room L2-04
- Insegnamenti: Media Theory and New Media
Andrea Mariani
Cinema, fotografia, radio, televisione e media digitali (PEMM-01/B)
- Ricercatore
- Tel: 0432 556611
- Email: andrea.mariani@uniud.it
- Studio: Casa Solari, second floor, room L2-04
- Insegnamenti: Media Theory and New Media
La vita di un uomo, da queste parti, è spesso legata al filo di un’informazione.
dal film Per un pugno di dollari (1964) di Sergio Leone
I graduated from the IULM University of Milan with a thesis in Film Philology developed in collaboration with the Filmoteca Española of Madrid, on the relationships between the directors Segundo de Chomón and Abel Gance in the production of the film Napoléon (1927). This first research led me to research the themes of film restoration, critical editions and the history of cinema between the two wars. I have gotten to know the University of Udine and the working group of Prof. Leonardo Quaresima as a center of excellence in Europe in the field of film restoration and the history of cinema, therefore I chose to attend the Doctoral course in the Friuli seat, with a thesis on Italian experimental cinema between the two wars and in particular on the production of Cineguf (Fascist university groups).
The Udine hub was a formidable centre for scientific research, but also for the initiative that characterizes its many activities and for its ability to combine traditional historical and theoretical research with the practice of new media and digital technologies (with virtuous effects both in theoretical speculation and in the enhancement of archive research results). Such a spirit involved me right away: I contributed to the film restoration lab La Camera Ottica (where I started recovery and digitalization of experimental films considered lost), founded a section of "Media Archeology" in the Spring Doctoral School “MAGIS Spring School”, as part of the Filmforum multi-year convention and school tradition, and today I am in charge of project management for the recently opened Digital Storytelling Lab. In DSL I deal in particular with the relationship between digital technologies and cultural heritage: recently we are exploring the potential of the virtual in the enhancement and communication of the multidimensionality of the experience of a historical site.
My historical interests alternate with in-depth studies on the theories of cinema and media, also regarding the teaching I am in charge of, in the three-year Performing Arts degree course: Media Theory and New Media.
I have published papers and articles in national and international books and magazines. I am editor of the magazines "L''avventura. International Journal of Italian Film and Media Landscapes " and "Cinergie. Cinema and other arts". I edited The Archive L’Archivio (2012), Il cinema si impara? (2013) and At the Borders of (Film) History (2015), and I am the author of L’audacissimo viaggio (2017) and Gli Anni del Cineguf (2018). The volume of translations I edited, Archeologia dei media (2019), recently won the Limina-Best translation 2019 award.
I am among the founders and part of the steering committee of the series Plexus. Archeologie, archivi e storie dei media for the publisher Meltemi. Currently I dedicate myself to research on the material history of cinema, combining archive research with ephemeral sources and media theory.
Finally, I love Italian western movies and had the pleasure of curating archival research for Sir Christopher Frayling's Once Upon a Time in the West. Shooting a Masterpiece (2019).
Pubblicazioni
Prima del film. Ephemeralia del regista e storia materiale della produzione
Schermi. Storie e culture del cinema e dei media in Italia, 3, 5 (2019)
Archeologia dei media. Temporalità, materia, tecnologia
Milano 2018 – Premio Limina Traduzione 2019 (a cura di A. Mariani e G. Fidotta)
The Cineguf Years. The Quest for Realism and the Shaping of a Film Avant-garde in Fascist Italy (1934–1943)
Film History: An International Journal, Primavera 2018
Gli Scrapbook Di Tatiana Grauding
Cinema e storia. Rivista di studi interdisciplinari, 1, 2018 (con M. Comand)
Un interessante caso di spasma di Torsione. Sapere medico e documentario sperimentale nel Guf di Perugia
Schermi. Storie e culture del cinema e dei media in Italia, 4, 2018 (con D. Cavallotti)
Metastorie. Note sulla teoria della storia del cinema (oltre il cinema)
La Valle dell’eden, 33, 2018 (con D. Cavallotti e S. Dotto)
Le Manifestazioni Internazionali di Cinematografia Scientifica e Turistica a Como (1936-1937)
Senza Luce. Visioni ai confini del documentario italiano (1924-1943), Speciale di Immagine. Note di storia del cinema, 15, Inverno 2017 (con G. D’Amia)
La politicizzazione del film sperimentale. Cineguf e la Dolomiti film di Luciano Emmer nella produzione de ‘Il Covo’ (1941)
L'avventura. International Journal of Italian Film and Media Landscapes, 2, 2016
'Per la comprensione del buon film’. Sulla germinazione del film culturale e la diffusione della cinematografia educativa in Italia (1926-1934)
Immagine – Note di Storia del Cinema 11 (2015) 105–131
Note sul Dutch angle nelle sintesi e nelle sinfonie di Ubaldo Magnaghi
Fata Morgana, “Dispositivo” (gennaio 2015) 272–278
Sapessi com’è strano incontrare Poe a Milano
Bianco e Nero. Rivista quadrimestrale del Centro Sperimentale di Cinematografia, “Il fantastico nel cinema italiano,” 579, 2014 (con S. Venturini)
Regimi della competenza, Passioni della tecnica
Fata Morgana, “Azione”, 23
Microphysics of a Rationalist Utopia. Ruins, Town Plans and the Avant-Garde Documentary
NECSUS, International, peer-reviewed, multidisciplinary journal of media studies, “Traces” Issue #5, Spring 2014