Daniele Rugo
Biographic Data
| ID | 1339970 |
|---|---|
| NAME | Daniele Rugo |
| GIVEN NAMES | Daniele |
| FAMILY NAME | Rugo |
| SIGNATURE | RUGO D |
| AFFILIATIONS | Brunel University of London |
| ORCID | 0000-0001-8606-9524 |
| VERIFIED | Yes |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 9 |
| AUTHOR COUNT | 8 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2015 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 2 |
Weaponized ecologies: How cinema addresses nature’s complicity in enforced disappearances
Enforced disappearance is a global problem, which has devastated communities on every continent of the world. Sometimes resolved by the eventual discovery and excavation of clandestine graves, more often the meticulous searching for the abducted and denied offers no lasting resolution as the body is never recovered. Due to the global nature of the problem, it has also taken place in every known environmental setting, from familiar places of human…
Annihilated landscapes: Disappearance, desolation and the memory of the abyss
This article addresses both the conceptualisation and visualisation of annihilation landscapes of suffering and despair. Rethinking the history of the bombings of Hiroshima and Nagasaki and what it means for understanding the past and present of atrocity, the essay attends to key concerns with the logics of the abyss and the nihilism of technologically enabled destruction. These will be addressed through a number of films that will highlight our …
The patch as method: The arts’ contribution towards understandings of conflict
This article asks: how do art practice and research give form to changing dynamics of conflict? Its argument is two-fold: art’s contribution can be developed from empirical considerations (what art finds out), and from methodological ones (how art finds something out). Bringing in art practice and the research methods it informs into political science helps understand conflict and its changes: by engaging simultaneously with the interaction betwe…
In a sea of binary algae: Marker’s Level Five as non-representational documentary
Setting aside the short prologue, to which we return later, Chris Marker’s Level Five (1997) begins with the character Chris (voiced by Marker) telling us that a young writer and friend named Laura (Catherine Belkhodja) has recently made contact with him. Her lover, who was also Chris’s friend, has died, and Laura is hoping that Chris can help her to make sense of the project he left behind. This project is a computer game about the Battle of Oki…
Catherine Wheatley (2019) Stanley Cavell and Film: Scepticism and Self-Reliance at the Cinema
Book Review
Asghar Farhadi: Acknowledging Hybrid Traditions: Iran, Hollywood and Transnational Cinema
Post-revolutionary Iranian cinema has been praised for its emotional immediacy and compositional simplicity. The work of Asghar Farhadi stands as an exception to this canon. His films focus on domestic conflicts and cultural contradictions in urban life and are marked by emotional complexity and intricate narrative structures. Focusing on these characteristics, critics have stressed his proximity to mainstream American cinema. The article analyse…
England, That Desert Island
A recurring feature of Patrick Keiller’s work is the lack of human presence and activity. Throughout his films, Keiller delivers a vision of England as a desert island, depopulated and unoccupied. Scrutinizing Keiller’s early shorts and feature-length films, this article argues that the absence of human subjects allows the filmmaker to articulate a broader discourse on space, so that the films can be described as “spatial fictions.” Keiller, by a…
The Patience of Film: Cavell, Nancy and a Thought for the World
Despite considerable differences Stanley Cavell and Jean Luc Nancy share the demand for a renewal of thinking produced through and with the concept of the world. Their articulation of the legacy bequeathed by Heidegger and Wittgenstein begins with an understanding of the world in excess of knowledge and insists on this impossible mastery as the most productive incentive for thinking. Inasmuch as philosophy has understood itself as producer of wor…
Asghar Farhadi: Acknowledging Hybrid Traditions: Iran, Hollywood and Transnational Cinema
Post-revolutionary Iranian cinema has been praised for its emotional immediacy and compositional simplicity. The work of Asghar Farhadi stands as an exception to this canon. His films focus on domestic conflicts and cultural contradictions in urban life and are marked by emotional complexity and intricate narrative structures. Focusing on these characteristics, critics have stressed his proximity to mainstream American cinema. The article analyse…
The patch as method: The arts’ contribution towards understandings of conflict
This article asks: how do art practice and research give form to changing dynamics of conflict? Its argument is two-fold: art’s contribution can be developed from empirical considerations (what art finds out), and from methodological ones (how art finds something out). Bringing in art practice and the research methods it informs into political science helps understand conflict and its changes: by engaging simultaneously with the interaction betwe…
In a sea of binary algae: Marker’s Level Five as non-representational documentary
Setting aside the short prologue, to which we return later, Chris Marker’s Level Five (1997) begins with the character Chris (voiced by Marker) telling us that a young writer and friend named Laura (Catherine Belkhodja) has recently made contact with him. Her lover, who was also Chris’s friend, has died, and Laura is hoping that Chris can help her to make sense of the project he left behind. This project is a computer game about the Battle of Oki…
England, That Desert Island
A recurring feature of Patrick Keiller’s work is the lack of human presence and activity. Throughout his films, Keiller delivers a vision of England as a desert island, depopulated and unoccupied. Scrutinizing Keiller’s early shorts and feature-length films, this article argues that the absence of human subjects allows the filmmaker to articulate a broader discourse on space, so that the films can be described as “spatial fictions.” Keiller, by a…
The Patience of Film: Cavell, Nancy and a Thought for the World
Despite considerable differences Stanley Cavell and Jean Luc Nancy share the demand for a renewal of thinking produced through and with the concept of the world. Their articulation of the legacy bequeathed by Heidegger and Wittgenstein begins with an understanding of the world in excess of knowledge and insists on this impossible mastery as the most productive incentive for thinking. Inasmuch as philosophy has understood itself as producer of wor…
The Patience of Film: Cavell, Nancy and a Thought for the World
Despite considerable differences Stanley Cavell and Jean Luc Nancy share the demand for a renewal of thinking produced through and with the concept of the world. Their articulation of the legacy bequeathed by Heidegger and Wittgenstein begins with an understanding of the world in excess of knowledge and insists on this impossible mastery as the most productive incentive for thinking. Inasmuch as philosophy has understood itself as producer of wor…
Asghar Farhadi: Acknowledging Hybrid Traditions: Iran, Hollywood and Transnational Cinema
Post-revolutionary Iranian cinema has been praised for its emotional immediacy and compositional simplicity. The work of Asghar Farhadi stands as an exception to this canon. His films focus on domestic conflicts and cultural contradictions in urban life and are marked by emotional complexity and intricate narrative structures. Focusing on these characteristics, critics have stressed his proximity to mainstream American cinema. The article analyse…
England, That Desert Island
A recurring feature of Patrick Keiller’s work is the lack of human presence and activity. Throughout his films, Keiller delivers a vision of England as a desert island, depopulated and unoccupied. Scrutinizing Keiller’s early shorts and feature-length films, this article argues that the absence of human subjects allows the filmmaker to articulate a broader discourse on space, so that the films can be described as “spatial fictions.” Keiller, by a…
Catherine Wheatley (2019) Stanley Cavell and Film: Scepticism and Self-Reliance at the Cinema
Book Review
In a sea of binary algae: Marker’s Level Five as non-representational documentary
Setting aside the short prologue, to which we return later, Chris Marker’s Level Five (1997) begins with the character Chris (voiced by Marker) telling us that a young writer and friend named Laura (Catherine Belkhodja) has recently made contact with him. Her lover, who was also Chris’s friend, has died, and Laura is hoping that Chris can help her to make sense of the project he left behind. This project is a computer game about the Battle of Oki…
The patch as method: The arts’ contribution towards understandings of conflict
This article asks: how do art practice and research give form to changing dynamics of conflict? Its argument is two-fold: art’s contribution can be developed from empirical considerations (what art finds out), and from methodological ones (how art finds something out). Bringing in art practice and the research methods it informs into political science helps understand conflict and its changes: by engaging simultaneously with the interaction betwe…
Weaponized ecologies: How cinema addresses nature’s complicity in enforced disappearances
Enforced disappearance is a global problem, which has devastated communities on every continent of the world. Sometimes resolved by the eventual discovery and excavation of clandestine graves, more often the meticulous searching for the abducted and denied offers no lasting resolution as the body is never recovered. Due to the global nature of the problem, it has also taken place in every known environmental setting, from familiar places of human…
Annihilated landscapes: Disappearance, desolation and the memory of the abyss
This article addresses both the conceptualisation and visualisation of annihilation landscapes of suffering and despair. Rethinking the history of the bombings of Hiroshima and Nagasaki and what it means for understanding the past and present of atrocity, the essay attends to key concerns with the logics of the abyss and the nihilism of technologically enabled destruction. These will be addressed through a number of films that will highlight our …
Art (6 works) · Aesthetics (5 works) · Epistemology (5 works) · Movie theater (5 works) · Sociology (5 works) · Philosophy (4 works) · Art history (3 works) · Cinema and Media Studies (3 works) · Law (3 works) · Law (3 works)