Francesco Casetti
Datos Biográficos
| ID | 286416 |
|---|---|
| NOMBRE | Francesco Casetti |
| NOMBRES | Francesco |
| APELLIDO | Casetti |
| FIRMA | CASETTI F |
| AFILIACIONES | FRANCESCO CASETTI is a professor at Yale University and the author of Inside the Gaze: The Fiction Film and Its Spectator (Indiana, 1999), Theories of Cinema, 1945–1995 (U. Texas, 1999), and Eye of the Century: Film, Experience, Modernity (Columbia, 2008). |
| ORCID | 0000-0002-0347-4688 |
| VERIFICADO | Sí |
| TOTAL DE OBRAS | 17 |
| TOTAL DE CITAS | 28 |
| TOTAL COMO AUTOR | 16 |
| TOTAL COMO EDITOR | 1 |
| PRIMER AÑO DE PUBLICACIÓN | 1983 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2025 |
| ÍNDICE H | 3 |
From paleo- to neo-television
This article is an English-language translation of 'De la paléo- à la néo-télévision' by Francesco Casetti and Roger Odin (1990), originally published in French. The article highlights transformations in the transition from paleo- to neo-television in France and Italy at the time when private television proliferated in Europe. From a semio-pragmatic perspective, it seeks to understand how the change in ' dispositif' leads to changes in the specta…
Technics
The Key Debates series was launched in 2010 with the aim of revisiting "the central issues that continue to animate thinking about film and audiovisual media," which we have now done across ten volumes.All of these have followed a pattern of reexamining foundational texts and issues, while also investigating new lines of transmission and interpretation.Our book series' dual interest in foundations and novel lines of inquiry is demonstrated by the…
The Optical and the Environmental
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 spa…
Rethinking the Phantasmagoria
The Phantasmagoria was not just a spectacle based on projections of images of ghosts and monsters. Relying upon new archival findings, this article claims that the Phantasmagoria was instead an optical–environmental dispositive that combined an enclosed space with the exploration of three worlds: the otherworld of the Dead, the physical world of Nature, and the inner world of spectators’ Interiority. While its ultimate goal was to provide an unco…
Trajectoires de relocation du cinéma
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
Why fears matter. Cinephobia in early film culture
Journal Article Why fears matter. Cinephobia in early film culture Get access Francesco Casetti Francesco Casetti Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 59, Issue 2, Summer 2018, Pages 145–157, https://doi.org/10.1093/screen/hjy017 Published: 12 June 2018
Early Film Theories in Italy, 1896-1922
Early Film Theories in Italy, 1896-1922
This collection is the first to bring together scholars to explore the ways in which various people and groups in Italian society reacted to the advent of cinema. Looking at the responses of writers, scholars, clergymen, psychologists, philosophers, members of parliament, and more, the pieces collected here from that period show how Italians developed a common language to describe and discuss this invention that quickly exceeded all expectations …
The Lumière Galaxy
In this volume, Francesco Casetti travels from the remote corners of film history and theory to the most surprising sites on the internet and in our cities to prove the ongoing relevance of cinema. He does away with traditional notions of canon, repetition, apparatus, and spectatorship in favour of new keywords, including expansion, relocation, assemblage, and performance. The result is an innovative understanding of cinema's place in our lives a…
Beyond Subjectivity
Back to the Motherland
Artaud Double Bill (2007) by Atom Egoyan is the perfect illustration of the emergence of a new style of filmic vision. Egoyan's film opposes two female spectators: Nana who watches La passion de Jeanne d'Arc in a clip from Vivre sa vie by Godard; and Anna who watches Vivre sa vie and sends the clip through her mobile phone to her friend Nicole, who is sitting in another film theatre. The opposition underlines four passages: from a text to the hyp…
Sutured Reality
October 01 2011 Sutured Reality: Film, from Photographic to Digital Francesco Casetti Francesco Casetti FRANCESCO CASETTI is a professor at Yale University and the author of Inside the Gaze: The Fiction Film and Its Spectator (Indiana, 1999), Theories of Cinema, 1945–1995 (U. Texas, 1999), and Eye of the Century: Film, Experience, Modernity (Columbia, 2008). Search for other works by this author on: This Site Google Scholar Author and Article Inf…
Communicative situations
De la paléo- à la néo-télévision
Casetti Francesco, Odin Roger. De la paléo- à la néo-télévision. In: Communications, 51, 1990. Télévisions / mutations, sous la direction de Francesco Casetti et Roger Odin. pp. 9-26
La recherche sur la télévision aujourd'hui en Italie
Casetti Francesco, Eugeni Ruggero, Signorelli Paolo, Lekehal Nadhira. La recherche sur la télévision aujourd'hui en Italie. In: Réseaux, volume 6, n°30, 1988. La recherche en communication en Europe. pp. 55-97
Antonioni and Hitchcock
Photographs are dropped and pile up on a desk, as they are scrutinized. A voice-off asserts, No, this isn't the usual story; no suspicions. So begins Cronaca di un amore, Michelangelo Antonioni's first feature film (Italy, 1950). Let's separate for a moment the aural from the visual components and address first the question of the voice-off. No, this isn't the usual story: this statement which inaugurates the plot from the margins of the scene, t…
Les yeux dans les yeux
Casetti Francesco. Les yeux dans les yeux. In: Communications, 38, 1983. Enonciation et cinéma. pp. 78-97
Back to the Motherland
Artaud Double Bill (2007) by Atom Egoyan is the perfect illustration of the emergence of a new style of filmic vision. Egoyan's film opposes two female spectators: Nana who watches La passion de Jeanne d'Arc in a clip from Vivre sa vie by Godard; and Anna who watches Vivre sa vie and sends the clip through her mobile phone to her friend Nicole, who is sitting in another film theatre. The opposition underlines four passages: from a text to the hyp…
De la paléo- à la néo-télévision
Casetti Francesco, Odin Roger. De la paléo- à la néo-télévision. In: Communications, 51, 1990. Télévisions / mutations, sous la direction de Francesco Casetti et Roger Odin. pp. 9-26
The Optical and the Environmental
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 spa…
Sutured Reality
October 01 2011 Sutured Reality: Film, from Photographic to Digital Francesco Casetti Francesco Casetti FRANCESCO CASETTI is a professor at Yale University and the author of Inside the Gaze: The Fiction Film and Its Spectator (Indiana, 1999), Theories of Cinema, 1945–1995 (U. Texas, 1999), and Eye of the Century: Film, Experience, Modernity (Columbia, 2008). Search for other works by this author on: This Site Google Scholar Author and Article Inf…
Why fears matter. Cinephobia in early film culture
Journal Article Why fears matter. Cinephobia in early film culture Get access Francesco Casetti Francesco Casetti Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 59, Issue 2, Summer 2018, Pages 145–157, https://doi.org/10.1093/screen/hjy017 Published: 12 June 2018
Early Film Theories in Italy, 1896-1922
This collection is the first to bring together scholars to explore the ways in which various people and groups in Italian society reacted to the advent of cinema. Looking at the responses of writers, scholars, clergymen, psychologists, philosophers, members of parliament, and more, the pieces collected here from that period show how Italians developed a common language to describe and discuss this invention that quickly exceeded all expectations …
Les yeux dans les yeux
Casetti Francesco. Les yeux dans les yeux. In: Communications, 38, 1983. Enonciation et cinéma. pp. 78-97
Antonioni and Hitchcock
Photographs are dropped and pile up on a desk, as they are scrutinized. A voice-off asserts, No, this isn't the usual story; no suspicions. So begins Cronaca di un amore, Michelangelo Antonioni's first feature film (Italy, 1950). Let's separate for a moment the aural from the visual components and address first the question of the voice-off. No, this isn't the usual story: this statement which inaugurates the plot from the margins of the scene, t…
La recherche sur la télévision aujourd'hui en Italie
Casetti Francesco, Eugeni Ruggero, Signorelli Paolo, Lekehal Nadhira. La recherche sur la télévision aujourd'hui en Italie. In: Réseaux, volume 6, n°30, 1988. La recherche en communication en Europe. pp. 55-97
De la paléo- à la néo-télévision
Casetti Francesco, Odin Roger. De la paléo- à la néo-télévision. In: Communications, 51, 1990. Télévisions / mutations, sous la direction de Francesco Casetti et Roger Odin. pp. 9-26
Communicative situations
Beyond Subjectivity
Back to the Motherland
Artaud Double Bill (2007) by Atom Egoyan is the perfect illustration of the emergence of a new style of filmic vision. Egoyan's film opposes two female spectators: Nana who watches La passion de Jeanne d'Arc in a clip from Vivre sa vie by Godard; and Anna who watches Vivre sa vie and sends the clip through her mobile phone to her friend Nicole, who is sitting in another film theatre. The opposition underlines four passages: from a text to the hyp…
Sutured Reality
October 01 2011 Sutured Reality: Film, from Photographic to Digital Francesco Casetti Francesco Casetti FRANCESCO CASETTI is a professor at Yale University and the author of Inside the Gaze: The Fiction Film and Its Spectator (Indiana, 1999), Theories of Cinema, 1945–1995 (U. Texas, 1999), and Eye of the Century: Film, Experience, Modernity (Columbia, 2008). Search for other works by this author on: This Site Google Scholar Author and Article Inf…
The Lumière Galaxy
In this volume, Francesco Casetti travels from the remote corners of film history and theory to the most surprising sites on the internet and in our cities to prove the ongoing relevance of cinema. He does away with traditional notions of canon, repetition, apparatus, and spectatorship in favour of new keywords, including expansion, relocation, assemblage, and performance. The result is an innovative understanding of cinema's place in our lives a…
Early Film Theories in Italy, 1896-1922
Early Film Theories in Italy, 1896-1922
This collection is the first to bring together scholars to explore the ways in which various people and groups in Italian society reacted to the advent of cinema. Looking at the responses of writers, scholars, clergymen, psychologists, philosophers, members of parliament, and more, the pieces collected here from that period show how Italians developed a common language to describe and discuss this invention that quickly exceeded all expectations …
Why fears matter. Cinephobia in early film culture
Journal Article Why fears matter. Cinephobia in early film culture Get access Francesco Casetti Francesco Casetti Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 59, Issue 2, Summer 2018, Pages 145–157, https://doi.org/10.1093/screen/hjy017 Published: 12 June 2018
Trajectoires de relocation du cinéma
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
Rethinking the Phantasmagoria
The Phantasmagoria was not just a spectacle based on projections of images of ghosts and monsters. Relying upon new archival findings, this article claims that the Phantasmagoria was instead an optical–environmental dispositive that combined an enclosed space with the exploration of three worlds: the otherworld of the Dead, the physical world of Nature, and the inner world of spectators’ Interiority. While its ultimate goal was to provide an unco…
The Optical and the Environmental
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 spa…
Technics
The Key Debates series was launched in 2010 with the aim of revisiting "the central issues that continue to animate thinking about film and audiovisual media," which we have now done across ten volumes.All of these have followed a pattern of reexamining foundational texts and issues, while also investigating new lines of transmission and interpretation.Our book series' dual interest in foundations and novel lines of inquiry is demonstrated by the…
From paleo- to neo-television
This article is an English-language translation of 'De la paléo- à la néo-télévision' by Francesco Casetti and Roger Odin (1990), originally published in French. The article highlights transformations in the transition from paleo- to neo-television in France and Italy at the time when private television proliferated in Europe. From a semio-pragmatic perspective, it seeks to understand how the change in ' dispositif' leads to changes in the specta…
Art (11 obras) · Philosophy (7 obras) · Cinema and Media Studies (6 obras) · Computer Science (5 obras) · Italian Fascism and Post-war Society (5 obras) · Movie theater (5 obras) · Sociology (5 obras) · Aesthetics (4 obras) · Art history (4 obras) · Law (4 obras)