Events, seminars, talks by Ivo Blom
Workshop internazionale sul contesto storico artistico del romanzo Fabiola o la chiesa delle cata... more Workshop internazionale sul contesto storico artistico del romanzo Fabiola o la chiesa delle catacombe del cardinale Nicholas Wiseman (1854) e della sua versione cinematografica di Enrico Guazzoni (1918)
Journal Articles by Ivo Blom
Acta Universitatis Sapientiae. Film and Media Studies, 2021
Within early non-fiction film, the Italian travel or scenic films of the 1910s may be considered ... more Within early non-fiction film, the Italian travel or scenic films of the 1910s may be considered the most picturesque. They are remarkable for their presentation of landscapes and cityscapes, their co-existence of modernity and nostalgia, their accent on beauty – at times at the expense of geographic veracity and indexicality – and their focus on the transformed gaze through the use of special masks, split-screens, and other devices. The transmedial roots for this aestheticization can be found both in art (painting) and popular culture (postcards, magic lanterns, etc.). While the author was one of the firsts to write on this subject decades ago, today there is a need for radical revision and a deeper approach. This is due to the influx of recent literature first by Jennifer Peterson’s book Education in the School of Dreams (2013) and her scholarly articles. Secondly, Blom’s co-presentation on Italian early nonfiction at the 2018 workshop A Dive into the Collections of the Eye Filmmuseum: Italian Silent Cinema at the Intersection of the Arts
led to the recognition that revision was needed. Finally, the films themselves call for new approaches while they are being preserved and disseminated by, foremost, the film archives of Bologna, Amsterdam, and Turin.
16. De collectie Biograph-fi1ms van het NFM bevat nog een opname (met de gegeven titel DE DOKTER ... more 16. De collectie Biograph-fi1ms van het NFM bevat nog een opname (met de gegeven titel DE DOKTER WEET RAAD) die precies hetzelfde tafereel als DE ZIEKE GEMEENTE-AMBTENAAR laat zien, maar gebruikmaakt van andere decors en acteurs. Misschien was het een bestaand Brits of Amerikaans filmpje waardoor Reyding zich he eft laten inspireren. Ook be staat de mogelijkheid dat de Britse operateurs het later in de Londense studio nog eens over hebben gedaan. Advertenties in Nederland root-Brittannie en de Verenigde Staten maken in elk geval geen meld mg van een soortgelijke opname.
ebd., S. 79f, Jan 1, 1994
Saynete militaiae comique d" M\1. MOUEZY-EON 6 LeDiable et le~Cantonnier Sur les bords de la Biev... more Saynete militaiae comique d" M\1. MOUEZY-EON 6 LeDiable et le~Cantonnier Sur les bords de la Bievre, un « film de riviere » au programme du Gaumont-Palace en 1913. ColI. Cinematheque franc;aise. Musee du Cinema. « La riviere eclatait de Iumiere, une buee s'en eIevait, pompee par Ie soleil, et l'on eprouvait une quietude douce, un rafraichissement bienfaisant it respirer entin un air plus pur qui n'avait point balaye Ia fumee noire des usines ou Ies miasmes des depotoirs ».
Ladies and gentlemen, hats off, please! » Dutch Film Lecturing and the Case of Cor Schuringl Schu... more Ladies and gentlemen, hats off, please! » Dutch Film Lecturing and the Case of Cor Schuringl Schuring belongs to the progressive party. He always walks up and down during his lecturing. Grader is definitely right-wing. He constantly turns his back on the public to the left-side. Schuring is luxuriant in his comic explications. Grader would be a good chairl1lan of the C/wmber of Deputies for his modest, quiet and calm grace. Schuring speaks forcefiilly, Grader softly. Schuring is fire, Grader water. Schuring belongs to the modern school, Grader c1ings to the traditions of the old guard, especially when uttering a distinct pronunciation of the Dutch language. Schuring is, musically speaking, the major key, Grader the minor key, and both jind in the pianist Brandès their best melody conductor. His accompaniment is sober. but always appropriate, never blaring. always artistic. This trio contributes considerably to the success of the beautiful films received at the Witte (Cine/na).2
Film History, Jan 1, 1999
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Events, seminars, talks by Ivo Blom
Journal Articles by Ivo Blom
led to the recognition that revision was needed. Finally, the films themselves call for new approaches while they are being preserved and disseminated by, foremost, the film archives of Bologna, Amsterdam, and Turin.
led to the recognition that revision was needed. Finally, the films themselves call for new approaches while they are being preserved and disseminated by, foremost, the film archives of Bologna, Amsterdam, and Turin.
Corporeality in Early Cinema inspires a heightened awareness of the ways in which early film culture, and screen praxes overall are inherently embodied. Contributors argue that on- and offscreen (and in affiliated media and technological constellations), the body consists of flesh and nerves and is not just an abstract spectator or statistical audience entity.
Audience responses from arousal to disgust, from identification to detachment, offer us a means to understand what spectators have always taken away from their cinematic experience. Through theoretical approaches and case studies, scholars offer a variety of models for stimulating historical research on corporeality and cinema by exploring the matrix of screened bodies, machine-made scaffolding, and their connections to the physical bodies in front of the screen.
FR:
Ce livre consacré aux liens entre le cinéma des premiers temps et le corps révèle combien la culture cinématographique émergente, et toutes les pratiques de l’écran autour de 1900, étaient fondamentalement « incarnées ». Les contributeurs arguent que sur et autour de l’écran (ainsi que dans tous les médias et constellations technologiques associées), les corps ne renvoyaient pas simplement à un spectateur abstrait ou à un public collectif d’ordre statistique : ils étaient bel et bien faits de chair et d’os. Allant de l’excitation au dégoût, de l’identification au détachement, les réactions du premier public de cinéma nous offrent un moyen de comprendre ce que les spectateurs ont toujours retiré de leur expérience filmique.
Cet ouvrage propose de nombreux modèles, tant théoriques qu’analytiques, pour servir la recherche historique sur cette présence du corps au cinéma, en explorant les corps filmés, le seuil de leur mécanisation, et leurs connexions aux corps physiques devant l’écran.