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  1.  17
    The Optical and the Environmental: From Screens to Screenscapes.Francesco Casetti - 2023 - Critical Inquiry 49 (3):315-336.
    The screen is not a pre established object: it becomes a screen—and that screen—when it interacts with a group of elements and relates to a set of practices that produce it as a screen. In this process of becoming screen, a crucial step is played by the space in which the screen is located and where spectators gather. The confluence of screen and space changes our perception of both: the screen displays the situatedness of its action, and the space its (...)
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  2. Che cosa è uno schermo, oggi?Francesco Casetti - 2014 - Rivista di Estetica 55:103-121.
    Nella nostra vita quotidiana, abbiamo a che fare con un numero sempre crescente di schermi. Tutti i dispositivi e media a noi più famigliari – dal computer allo smartphone, dal tablet alle screen façades – sono caratterizzati da schermi. Una tale diffusione viene a modificare la natura stessa dello schermo. Quest’ultimo non è più una superficie su cui la realtà è rappresentata con rinnovata forza e chiarezza (includendo la realtà dei sogni), come lo era attraverso il film – lo schermo (...)
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  3.  34
    Antonioni and Hitchcock: Two Strategies of Narrative Investment.Francesco Casetti & Luciana Bohne - 1986 - Substance 15 (3):69.
  4. Christian Metz.Francesco Casetti - 2008 - In Paisley Livingston & Carl Plantinga (eds.), The Routledge Companion to Philosophy and Film. Routledge.
     
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  5.  41
    Communicative situations: The cinema and the television situation.Francesco Casetti - 1996 - Semiotica 112 (1-2):35-48.
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  6.  2
    Screening fears: on protective media.Francesco Casetti - 2023 - New York: Zone Books.
    A historical and theoretical investigation of the unexpected ways screen-based media protect and excite viewers' fears and anxieties of the worldIn this brilliant contribution to contemporary media studies, acclaimed theorist Francesco Casetti advances a provocative hypothesis: instead of being prostheses that expand or extend our perceptions, modern screen-based media are in fact apparatuses that shelter and protect us from exposure to the world. Rather than bringing us closer to external reality, dominant forms of visual media function as barriers or enclosures (...)
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  7.  9
    Teorie del cinema: 1945-1990.Francesco Casetti - 1993 - Milano: Bompiani.
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  8.  2
    Teorie del cinema: dal dopoguerra ad oggi.Francesco Casetti - 1978 - [Milano]: L'espresso.
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  9.  10
    Trajectoires de relocation du cinéma.Francesco Casetti, Marta Boni, Anne Querrien & Jacopo Rasmi - 2020 - Multitudes 79 (2):100-107.
    La notion de « relocation » désigne le déplacement historique du visionnage cinématographique vers des milieux et des objets nouveaux. Qu’il s’agisse de regarder une œuvre cinématographique sur une tablette dans un train ou bien d’assister à un match de foot dans la salle domestique d’un home théâtre, la dispersion de l’expérience cinématographique, en cours depuis longtemps, est significativement accélérée par les nouveaux media.
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  10. Theories of cinema, 1945-1995.Francesco Casetti - 1999 - Austin: University of Texas Press.
    The study of film entered a new era after World War II, as cinema became an acceptable focus for intellectual inquiry. The many ways in which cinema has been imagined, studied, and discussed in the last fifty years are the subject of this comprehensive overview of film theory in the United States and Europe since 1945. Francesco Casetti groups his essays around principal movements in film studies. In the first part of the book, he reviews the attempts at defining the (...)
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