University of Udine

DIpartimento di Studi UManistici
e del patrimonio culturale

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Cosetta Saba

Il Cinema è l’arte di organizzare un flusso di eventi audiovisuali nel tempo. È un evento-flusso, come la musica. Per praticare il cinema disponiamo di tre media: il film, il video, il computer […]. Ciascuno, naturalmente, ha proprietà distinte e contribuisce diversamente alla teoria del cinema, dilatando la nostra conoscenza di quello che il cinema può essere ed è. Anche se tutto ciò non smette di essere cinema”.

G. Youngblood

Lanzarini-Ritratto

Cosetta Saba

Cinema, fotografia e televisione (L-ART/06)


  • Associate professor
  • Tel.: 0481 82082
  • Email: cosetta.saba@uniud.it
  • Office: Palazzo del Cinema, I piano, Piazza Vittoria n. 41, Gorizia
  • Teachings: Analisi del film; Pratiche audiovisive nella Media art

Cosetta Saba

Cinema, fotografia e televisione (L-ART/06)


  • Associate professor
  • Tel.: 0481 82082
  • Email: cosetta.saba@uniud.it
  • Office: Palazzo del Cinema, I piano, Piazza Vittoria n. 41, Gorizia
  • Teachings: Analisi del film; Pratiche audiovisive nella Media art
Lanzarini-Ritratto

Il Cinema è l’arte di organizzare un flusso di eventi audiovisuali nel tempo. È un evento-flusso, come la musica. Per praticare il cinema disponiamo di tre media: il film, il video, il computer […]. Ciascuno, naturalmente, ha proprietà distinte e contribuisce diversamente alla teoria del cinema, dilatando la nostra conoscenza di quello che il cinema può essere ed è. Anche se tutto ciò non smette di essere cinema”.

G. Youngblood

I studied Humanities and Philosophy at the University of Trieste where, from 1991 to 2002, in collaboration with Alberto Farassino, I carried out research activities and I taught Semiology of Cinema and Audiovisual and Theory and Technique of the cinematographic language. During this period, my research was dedicated to the study of semiotics of audiovisual products and to the realisation of the software DATAFILM. IT instruments for the analysis of the audiovisual text (version 1.0, 2bm Srl): I designed the general infrastructure, developed the dictionary and selected the iconographic and cinematic corpora.

Since 2002 I work for the University of Udine, where I teach Film Analysis for the Degree Course in Performing Arts, and Audiovisual Practices in Media Art for the Master's in Audiovisual heritage and media education sciences. I am vice-coordinator of the Ph.D. programme in Art History, Film Studies, Media Studies, and Music (since 2007) and member of the doctorial board. I am Scientific Director of the laboratory La Camera Ottica, which is active in the theoretical and applied research in the field of preservation and digital restoration of the audiovisual heritage. Place of training for the students of the University of Udine, the Lab provides fundamental support for the study courses and is at the centre of a thick collaboration network with cinema libraries, national and european archival institutions and museums, film-makers, artists and curators.

I carry on my scientific activity, based on the interest for those artistic practices which are technological in nature and for expertise within the field of digital humanities, with a multidisciplinary theorical and methodological approach, which revolves around the languages of art in all its audiovisual forms and manifestations, and the models for archiving, documentation, film preservation and complex artistic installations; I keep dealing with the theoretical frameworks of the textual analysis of films according to semiotic, narratological and figural methodologies. On these topics I also published essays, monographs, articles, I edited collective works and presented several research and educational projects with the support of local, national and international institutions. I organized and took part in scientific conferences, I held seminars both in Italy and abroad, and I spent research periods in the US in order to study "structuralist" and underground cinema.

I am currently working on a monograph dedicated to Media art and I am taking part to two research programmes coordinated by MiBAC (DGAAP, ICCD): the first one aims at defining the guidelines for the creation and the online management of digital archives concerning video art and artist's films in Italy; the second one relates to the new protocols for cataloguing complex works of art in audiovisual format.

Publications

Art/tapes/22

in: F. Bovier (cur.), Early Video Art and Experimental Films Networks. French-speaking Switzerland in 1974: a Case for “Minor History”, Lausanne/Dijon 2017, 113–136

Medium senza medium. Amnesia e cannibalizzazione: il video dopo gli anni ‘90

in: V. Valentini, C. Saba (curr.) Medium senza medium. Amnesia e cannibalizzazione: il video dopo gli anni ’90, Roma 2015, 79–127

ARCHIVIO, CINEMA, ARTE

Milano-Udine 2013

Media Art and Digital Archive

in: J. Noordegraaf, C. Saba, B. Le Maître, V. Hediger (curr.), Preserving and Exhibiting Media Art: Challenges and Perspectives, Amsterdam 2013, 101–120

The Path. "Situation", "Condition", "Production" nell'opera di Matthew Barney

in: N. Dusi, C. Saba (curr.), MATTHEW BARNEY. Polimorfismo, multimodalità, neobarocco, Milano 2012, 47–87