November 05
14:00 - 15:30

Lockdown, New Media and the Aesthetics of Confinement

Iconographies of confinement: from the Externalized Gaze to the Cinematographic Aesthetics of Hyper-Localization

The Sars-Cov 2 pandemic has accelerated the leap from what Franco 'Bifo' Berardi calls the conjunction to the connection and has altered the forms of sovereignty and political interaction by generating a radical externalization of images that problematizes the very idea of travel. Furthermore, it has contributed to a cognitive reprogramming of our conception of emotions and time in a way as intense as the “infinite scroll”, a feature of the touch interface that is the foundation of most contemporary social media, devised by the engineer Aza Raskin. When Chris Anderson pointed out in his article “The End of Theory” (2008) that the theoretical models in the sciences were disappearing because of the possibility of compiling and processing data in volumes unthinkable up to that point, then the representativeness status of images was also buried. Where is the shared, archetypal, and historical role of images against data traffic? How do those data that do not strictly constitute images overlap with them? Is it possible to reject the idea of ​​an externalized image, often a “spam image” (Steyerl), which has replaced the implicit travel drive in cinema since its inception?

Ivan Pintor Iranzo

PhD in Communication Studies from Universidad Pompeu Fabra (UPF). Senior lecturer at UPF and member of the CINEMA Research Group. He currently teaches Contemporary Cinema in the bachelor’s program in Audiovisual Communication at UPF, and Cinema, Television and Comic-book History in the UPF Master’s in Contemporary Film and Audiovisual Studies program. With Jordi Balló, he is the Principal Investigator of the research project Visual motifs in the public sphere: Production and circulation of images of power in Spain, 2011-2017, and the Project Manager in Spain of the Erasmus + Project “Teseo – Arianna’s strands in the digital age”. In recent years, he has published articles in journals and contributed to more than 50 books, including Figure del fumetto (2020), Les Motifs au cinéma (2019), Flash Gordon. L’Avventurosa meraviglia (2019), or I riflessi di Black Mirror (2018). He writes at the newspaper La Vanguardia and has organized conference cycles for different European museums. His lines of research are: gestures in film, iconology and iconography, hermeneutics and myth criticism in film, comparative film studies, television series, sequential narrative, transmedia and intertextuality.

#HomePro: Action Cameras and (Im)mobility During the Covid-19 Pandemic

The paper aims at investigating how Covid-19 pandemic and lockdown measures have affected GoPro users, addressing the way in which the pandemic redefines the relationship between the users, the devices, and the environment. Action cameras, as the name implies, are designed for what Richard Bégin defines as mobilography, “the recording of generalized mobility, including the motility of the filming body, the portability of the technological object, and the ability to enter into the environment." (Bégin 2016: 115). Through the comparative analysis of the production and the discourses of GoPro amateur users before and during the pandemic, the paper will explore the adaptation strategies implemented by all the actors involved—the users, but also the “technical object” (Simondon 1958/2012). Finally, the presentation will focus on the environmental impact of the sports and tourism practices that action cameras enable and record, pondering on the (missed?) opportunity for a new "ecological mobilography".

Chiara Grizzaffi

Chiara Grizzaffi is a postdoctoral fellow at IULM University, in Milan, where she obtained her PhD in 2015. Her book on video essays, I film attraverso I film. Dal “testo introvabile” ai video essay has been published in 2017 by Mimesis; her essays have been published in journals such as «Bianco e Nero», «Imago», «Cinergie», «The Cine-Files», and in books like Writing About Screen Media, edited by Lisa Patti, Harun Farocki. Pensare con gli occhi, edited by Luisella Farinotti, Barbara Grespi, Federica Villa and Critofilm. Cinema che pensa il cinema, edited by Adriano Aprà. She is co-editor of [in]Transition and associate editor of Cinergie.