Luis Bu\uf1uel, Sergej Ejzen\u161tejn e Georges Bataille. Il taglio dell\u2019occhio: un montaggio delle attrazioni in chiave surrealista

Prendendo le mosse dalla sceneggiatura di Un chien andalou, ideata e scritta da Luis Bu\uf1uel e Salvador Dal\uec a Figueras tra il Natale del 1928 e l\u2019inizio del 1929, si tenter\ue0 di analizzare il montaggio del celebre prologo del film, provando a metterne in luce alcuni importanti risvolti teorici

Cinema astratto e sinestesia. Dal ritmo colorato alla musica audiovisiva

This paper aims at analyzing the concept of \u201csynaesthesia\u201d \u2013 a simultaneous mix of sensations normally experienced separately \u2013 as a phenomenon at the roots of the genealogy of abstract cinema. It approaches this body of animated abstract images from its origins in Germany after World War I, to the rise of National Socialism and the escape to the United States of some of the key members of the German school (Walter Ruttmann, Oskar Fischinger), to computer art in the 1960s and beyond. The aim is to present the role of the cinematic abstract culture in the historical and political context that saw the birth of both the European avant-gardes and mass commercial culture in the US. One of the main goals is to show how the works of abstract cinema, realized between the 1920s and \u201840s, were at the origins of the experiments with electronic animation during the \u201860s (carried out, among others, by John and James Whitney), and of the studies in computer art and synthetic sound developed in the Bell Telephone Laboratories in the early \u201870s

Sergei Eisenstein and Jean Painlev\ue9. Science is Animation

https://onlinelibrary.wiley.com/doi/abs/10.1111/criq.1232

Le temps du remontage: entre cin\ue9ma et installation. The Clock de Christian Marclay

Afin d\u2019aborder la dimension hybride de l\u2019\u153uvre d\u2019art cin\ue9matographique \ue0 l\u2019\ue9poque de l\u2019installation vid\ue9o et les rapports entre le temps v\ue9cu par le spectateur et celui de l\u2019\u153uvre, il semble int\ue9ressant d\u2019interroger aussi la question de la temporalit\ue9 par rapport \ue0 l\u2019acte du remontage. Quel est donc le mod\ue8le de temps d\u2019une \u153uvre de remploi des images-temps diff\ue9rentes, projet\ue9e dans un mus\ue9e d\u2019art contemporain, comme The Clock de Christian Marclay, o\uf9 le temps virtuel de l\u2019\u153uvre est \ue0 la fois remont\ue9 et greff\ue9 sur le temps r\ue9el v\ue9cu par les visiteurs-spectateurs\u2009

Impronte multiple di spazio e di tempo. La sovrimpressione tra nuova visione e surrealismo

La tecnica della sovrimpressione, cos\uec come quella del fotomontaggio , si sviluppa gi\ue0 a partire dalla seconda met\ue0 dell'Ottocento, in particolare attraverso il procedimento dell'esposizione multipla di una stessa lastra fotografica o di uno stesso tratto di pellicola. Questa tecnica fu inizialmente utilizzata nella fotografia spiritica con lo scopo di ottenere un effetto spettrale e fantasmatico attraverso la sovrapposizione di pi\uf9 immagini, ottenute con tempi di esposizione sempre pi\uf9 brevi in modo tale da risultare pi\uf9 chiare ed eteree rispetto allo sfondo nero. La sovrimpressione consiste pertanto sia nell'impressione multipla di una superficie sensibile, sia nella riesposizone di un negativo al momento dello sviluppo. Allo stesso modo delle sovrimpressioni, dei fotogrammi e dei fotomontaggi \u2013 tutti procedimenti tecnici che iniziano a essere utilizzati in senso artistico dalle avanguardie tra la fine degli anni Dieci e i primi anni Venti \u2013 anche le ombre e i riflessi, che spesso per errore compaiono nelle fotografie, rientrano a pieno titolo nel quadro di quel movimento di trasfigurazione dell'errore e di riscoperta delle potenzialit\ue0 artistiche ed espressive del medium fotografico che investe prepotentemente il panorama delle avanguardie degli anni Vent

\u201cLaura McMahon, Cinema and Contact: The Withdrawal of Touch in Nancy, Bresson, Duras and Denis\u201d

International audienc

Fautes, ombres, reflets et montages. Les surimpressions entre Nouvelle Vision et Surr\ue9alisme

Shadows and reflections, which often mistakenly appear in the photographs, as superimposition \u2013 that technique consisting in impressing many times a sensitive surface over and over or in the overlap of two or more negative during development \u2013, may be included within the framework of the transfiguration process of the error and the rediscovery of the artistic and expressive potential of the photographic medium that strongly concerned the 1920's avant-garde

Fautes, ombres, reflets et montages. Les surimpressions entre Nouvelle Vision et Surréalisme

Shadows and reflections, which often mistakenly appear in the photographs, as superimposition – that technique consisting in impressing many times a sensitive surface over and over or in the overlap of two or more negative during development –, may be included within the framework of the transfiguration process of the error and the rediscovery of the artistic and expressive potential of the photographic medium that strongly concerned the 1920's avant-garde

Search for composite and exotic fermions at LEP 2

A search for unstable heavy fermions with the DELPHI detector at LEP is reported. Sequential and non-canonical leptons, as well as excited leptons and quarks, are considered. The data analysed correspond to an integrated luminosity of about 48 pb^{-1} at an e^+e^- centre-of-mass energy of 183 GeV and about 20 pb^{-1} equally shared between the centre-of-mass energies of 172 GeV and 161 GeV. The search for pair-produced new leptons establishes 95% confidence level mass limits in the region between 70 GeV/c^2 and 90 GeV/c^2, depending on the channel. The search for singly produced excited leptons and quarks establishes upper limits on the ratio of the coupling of the excited fermio