Matteo Ciccognani
Biographic Data
| ID | 910107 |
|---|---|
| NAME | Matteo Ciccognani |
| GIVEN NAMES | Matteo |
| FAMILY NAME | Ciccognani |
| SIGNATURE | CICCOGNANI M |
| AFFILIATIONS | University of Leicester |
| ORCID | 0000-0003-1718-2149 |
| VERIFIED | Yes |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 2 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2020 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 0 |
Exploring Modes of Surveillance in Films
This article frames a theoretical discussion of cinematic gestures in their opposing forms, illusionism and reflexivity, exploring different modes connecting surveillance and film. One observes cinema as an illusionistic surveilling machine that records reality. In this respect, surveillance can be an “element of movie plots.” Then, given the simultaneously entrapped and swaying nature of cinematic gestures, the investigation of film reflexivity …
A critical glance into the metacinematic gestures of The Act of Killing
This paper investigates a productionist metafilm that exposes a singular organisational method: Joshua Oppenheimer’s The Act of Killing. Productionist metafilms are reflexive works which display the processual dimension of filmmaking to the extent that the frontstage of production tends to coincide with the backstage. These films empower participants and exalt their incisive role, commonly subordinated to the decision-making power wielded by film…
No prominent works on this page.
A critical glance into the metacinematic gestures of The Act of Killing
This paper investigates a productionist metafilm that exposes a singular organisational method: Joshua Oppenheimer’s The Act of Killing. Productionist metafilms are reflexive works which display the processual dimension of filmmaking to the extent that the frontstage of production tends to coincide with the backstage. These films empower participants and exalt their incisive role, commonly subordinated to the decision-making power wielded by film…
Exploring Modes of Surveillance in Films
This article frames a theoretical discussion of cinematic gestures in their opposing forms, illusionism and reflexivity, exploring different modes connecting surveillance and film. One observes cinema as an illusionistic surveilling machine that records reality. In this respect, surveillance can be an “element of movie plots.” Then, given the simultaneously entrapped and swaying nature of cinematic gestures, the investigation of film reflexivity …
Aesthetics (2 works) · Art (2 works) · Epistemology (2 works) · Filmmaking (2 works) · Gesture (2 works) · Law (2 works) · Movie theater (2 works) · Philosophy (2 works) · Political science (2 works) · Reflexivity (2 works)