Dada Bodies

June 1, 2017 | Autor: Rossella Catanese | Categoria: Visual Culture, Futurism, Cinema, Dadaism, Dadaism & Surrealism
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filmforum/2016 Gorizia, March 9-15 XXIII Udine International Film Studies Conference A History of Cinema Without Names II Gorizia, March 9-11 Fondazione Cassa di Risparmio di Gorizia, via Carducci 2 Polo Santa Chiara, via Santa Chiara 1 XIV MAGIS – Gorizia International Film Studies Spring School Bodifications: Mapping the Body in Media Cultures Gorizia, March 9-15 Palazzo del Cinema – Hiša filma, Piazza Vittoria 41 Fondazione Cassa di Risparmio di Gorizia, via Carducci 2 Polo Santa Chiara, via Santa Chiara 1

XXIII Udine International Film Studies Conference – A History of Cinema Without Names II Scientific Coordinator: Leonardo Quaresima (Università degli Studi di Udine) Scientific committee: Mariapia Comand, Francesco Pitassio, Leonardo Quaresima, Cosetta Saba, Simone Venturini, Federico Zecca (Università degli Studi di Udine) Project: Marta Boni (Université de Montréal), Teresa Castro (Université Sorbonne Nouvelle – Paris 3), Catherine Fowler (University of Otago), Manuel Garin (Universitat Pompeu Fabra, Barcelona), André Gaudreault (Université de Montréal), Frank Kessler (Universiteit Utrecht), Andras Balint Kovàcs (Eötvös Loránd Tudományegyetem, Budapest), François Amy de La Bretèque (Université Paul Valéry, Montpellier), Barbara Le Maître (Université Paris Ouest Nanterre), Sabine Lenk (Universiteit Antwerpen), Trond Lundemo (Stockholms Universitet), Leonardo Quaresima (Università degli Studi di Udine), Alan Salvadó (Universitat Pompeu Fabra, Barcelona), Antonio Somaini (Université Sorbonne Nouvelle – Paris 3), Benoît Turquety (Université de Lausanne), Wanda Strauven (Universiteit van Amsterdam) Organisation coordinator: Simone Dotto (Università degli Studi di Udine) XIV MAGIS International Film Studies Spring School – Bodifications: Mapping the Body in Media Culture Scientific Coordinator: Federico Zecca (Università degli Studi di Udine)

Steering Committee: Diego Cavallotti, Simone Dotto, Giuseppe Fidotta, Giovanna Maina, Andrea Mariani (Università degli Studi di Udine), Federico Giordano (Università per Stranieri di Perugia) Cinema & Contemporary Visual Arts: Simone Dotto (Università degli Studi di Udine), Vincenzo Estremo (Università degli Studi di Udine), Francesco Federici (Università degli Studi di Udine/ ESA Nord-Pas de Calais), Lisa Parolo (Università degli Studi di Udine), in collaboration with Viva Paci (GRAFICS, Université du Québec à Montréal)   Media Archaeology: Diego Cavallotti, Giuseppe Fidotta, Andrea Mariani, Simone Venturini (Università degli Studi di Udine) Post-Cinema: Videogame/ Animation/Comics: Alberto Brodesco (Università degli Studi di Trento), Federico Giordano (Università per Stranieri di Perugia), Ludovica Fales (Università degli Studi di Udine), in collaboration with Bernard Perron (GRAFICS, Université de Montréal) Porn Studies: Cartography of Pornographic Audiovisual: Enrico Biasin, Giovanna Maina, Federico Zecca (Università degli Studi di Udine), in collaboration with Rosanna Maule (GRAFICS, Concordia University)   Film Heritage: Diego Cavallotti, Simone Venturini (Università degli Studi di Udine), Hans-Michael Bock (CineGraph, Hamburg), Jan Distelmeyer (Fachhochschule Potsdam/Universität Potsdam), in collaboration with André Habib (GRAFICS, Université de Montréal)

Organisation: SCOM Università degli Studi di Udine, Maurizio Pisani, Loris Nardin, Daniela Fabrici (Dipartimento di Studi Umanistici e del Patrimonio Culturale), Carlo Carratù (CEGO – Università degli Studi di Udine), Enrico Biasin, Marco Comar, Matteo Genovesi, Vincenzo Estremo, Mattia Filigoi, Ludovica Fales, Francesco Federici, Lisa Parolo, Mirco Santi, Massimo Siardi, (Università degli Studi di Udine), Alberto Brodesco (Università degli Studi di Trento) Accommodation: Giovanna Maina (Università degli Studi di Udine)  Screenings: Hans-Michael Bock (CineGraph, Hamburg), Diego Cavallotti, Vincenzo Estremo, Andrea Mariani, Lisa Parolo, Mirco Santi, Simone Venturini, Federico Zecca (Università degli Studi di Udine) Premio Limina: Valentina Re (Link Campus University, Roma), Federico Zecca (Università degli Studi di Udine)   Press: Volpe & Sain Comunicazione   Website:
Massimo Siardi (Università degli Studi di Udine)   Technical direction:
Gianandrea Sasso (CREA -
Università degli Studi di Udine),
Marco Comar (CINEMANTICA - Università degli Studi di Udine), 
Mirco Santi (La Camera Ottica -
Università degli Studi di Udine)   Technical assistance: Transmedia Spa   Graphics:
Stefano Ricci

Call for Papers XXIII International Film Studies Conference March 9-11 XIV MAGIS - Gorizia International Film Studies Spring School March 9-15 Screenings March 9-13

Colophon/Contents

Contents

XXIII International Film Studies Conference A History of Cinema Without Names II Gorizia, March 9-11 2016 During the last twenty years, the Conference has promoted a new research perspective on the notions of film authorship, style, and genre, with the aim of rearticulating their theoretical definition. Drawing on these past experiences, in 2014 the Conference has launched a project entitled “History of Cinema Without Names”, whose first scientific outcomes have been presented at its 2015 edition. This edition has been characterized by a great variety of proposals and approaches, and by a rich and lively debate among the participants, with the result of consistently broadening the scope of the project itself. Alongside the issues of film authorship, style, and genre, the next developments of the research will in fact encompass (and problematize) all the categories, processes, and methods that shape and enable cinema history and the cinema-object itself. Many of the scholars and institutions involved in the 2015 Conference have established a permanent international network divided in several independent working groups, which will present their research outcomes at the 2016 edition of the Conference. Each group is now carrying out a specific research task in accordance with the project guidelines, the main objects of inquiry being: problems of authorship in early cinema and non-institutional cinema; the role of technological innovation in the production and “manipulation” of (moving) images; quantitative analysis as a new tool for film history; topology of cinema; a possible history of performative forms and visual motifs. This edition of the Conference will therefore represent a second step in the implementation of the “History of Cinema without Names” project. Merging together the methodological frameworks and research results developed by the different working groups, the 2016 Conference intends to promote and test a collective theoretical model.

XIV MAGIS – Gorizia International Film Studies Spring School Bodifications: Mapping the Body in Media Cultures Gorizia, March 9-15 2016 From the 2016 edition onwards, the MAGIS – Gorizia International Film Studies Spring School will promote a long-term research project dedicated to the historical transformations of the body in media cultures. This project is based on the premise that the epistemological understanding of the body has been changing in the Western World starting from the second half of the 19th century at least. The body-mind opposition that has traditionally informed Western thought has been challenged: no longer discarded as a mere “vessel” for the mind – therefore irrelevant, or even “dangerous”, to reason (Grosz 1994) – the body has started to be considered as the very condition through which we access the knowledge of the world. In a phenomenological perspective, the body is in fact the vehicle through which our own experience of the world come into being: in other words, it is ‘our general means of having a world’ (Merleau-Ponty [1945] 2012, 146). The body is therefore conceived as an object of the world and as point of view on the world, a space from which exteriority is established and through which interiority is constructed at the same time (Fabbri and Marrone 2001). Moreover, the definition of the body as a biologically predetermined entity, characterized by ahistorical and fixed features, has been challenged by, amongst other things, the two following ideas. Firstly, the idea that the body is a discursive construct, informed by a complex series of regulatory norms and power relations (Mauss [1936] 1973; Foucault [1976] 1979). Secondly, the idea the body and its evolution have been influenced by technology, seen as a co-evolutionary partner of the human being, and thus capable of modifying the biological determinations of the body itself (Leroi-Gourhan 1993). In this sense, ‘behaviours, morphologies, and even physiologies are the outcome of a set of processes through which every society acts on the bodies, this way literally constructing them’ (Borgna 2005, VI). According to this epistemological perspective, the body is therefore seen as a fundamental vector (and “filter”) of knowledge and as a bio-political and techno-cultural artefact in which different ideological and material tensions meet and collide. In the late modernity, this perception of the body has reached its full development, while at the same time being rearticulated by further cultural processes, such as significant changes in the economic structures, the atomization of social agencies, the political and theoretical action of social movements, and the possibilities offered by scientific and technological innovation. In this context, the body becomes a reflexive entity, the object of options and choices, a sort of individual project aimed at the redefinition of the self and of identity (Giddens 1991; Bauman 1999). This paradigm of the “body-as-project” has developed in at least two different (though closely interrelated) directions. On the one hand, the human body (as conceived in modern humanist thought) has been reconceptualised as an “obsolete” object whose senses and capabilities need to be enhanced and whose limits need to be overcome. During the last decades, in fact, different social discourses and practices – such as those produced by body art, plastic surgery, bodybuilding, cyber punk, etc. – have all worked towards the definition of a post-human and post-organic body,  freed (at least in part) from biological  constraints and limitations (e.g. Halberstam and Livingston 1995; Stelarc 1994). On the other, the body is perceived as a “political” project aimed at manifesting and (re)defining specific social values and lifestyles. It is in fact primarily through their work on the body that individuals construct and affirm their identities in order to find their place (and recognition) in the social world. Of course, this body-project is at the crossroad of several contradictions and tensions: as also stated by feminist, queer, and race studies, individual strategies of self-construction through the body must always engage in a process of negotiation with (or against) the system of meanings employed by the social order to make sense of the body itself (e.g. Butler 1993; Pitts-Taylor 2003; Kaw 1997). Moreover, the transformations of the body (and of its relationship with the mind) in contemporary technological landscape do not only affect the body as an object of study, but also concern the observing subject (Black 2014). The Humanities are now facing a gradual relocation of forms and places of knowledge construction, thus undergoing a drastic change in their theoretical framework. Many scholars in the field have now left behind an out-dated “Vitruvian” attitude, as they find

themselves involved in ‘endlessly ramified networks’, in which they constantly rework their fluid identities and environments, they ‘construct, and [are] constructed’, recognizing themselves as ‘spatially extended cyborg[s]’ (Mitchell 2003, 39). Contemporary media relationships in fact ‘[place] scholars in an extended network that combines minds, bodies, machines, and institutional practices, and [lay] bare the fiction that scholars are disembodied intellectuals who labor only with the mind’ (Burgess and Hamming 2011). Therefore, a project dedicated to the synchronic and diachronic study of the body in (contemporary) media cultures should also investigate the ways in which this object is framed, analysed, understood, and disseminated by an interdisciplinary and “stratified” scientific community that is embedded in the very same technological and cognitive relations it aims to describe. The research project promoted by the MAGIS – Gorizia International Film Studies Spring School investigates the role performed by the media in this complex scenario where the body and its cultural perception are constantly transformed and redefined. We aim to address the following issues: 1. The function of media representations in the social (re)definition of the body; that is, the ways in which media texts and discourses produce repertories, iconographies, images, perceptions, models, and meanings that influence the construction of the body and its transformations; 2. The role of media technologies in the physical transformation and enhancement of the body; that is, the ways in which the intersection of body and technology contributes to overcome the biological, neurological, and psychological limits of the (human) body; 3. The role of media technologies in the epistemological reconceptualization of the body as a cultural and scientific object during the last two centuries, and their influence on the concurrent transformation of the observing subject – from external and “detached” to embodied and embedded in the object itself. Drawing on their own specific disciplinary interests and methodological perspectives, the five sections of the School – Porn Studies, Cinema & Contemporary Visual Arts, Media Archaeology, Post-Cinema, and Film Heritage – will focus on different configurations of the body:  Porn Studies. The pornographic/sexualized body According to Linda Williams’s classic definition, pornography can be described as a “body genre”, that is as a film genre essentially aimed at eliciting bodily reactions in the viewer through the “spectacle” of bodily excess. More recent studies have further developed this idea, starting to investigate the social production of the pornographic body and the affective relationships between pornography and its audiences. On this basis, the section aims to address the following topics: typologies and morphologies of the pornographic body; articulations of the pornographic body in terms of gender, ethnicity, age, ability, and class; pornographic sub-genres, body types, and the pleasures of categorization; sexual hyperbole, excess, and the grotesque in the pornographic body; porn as standardization and porn as subversion of the body; porn star bodies as (cultural) commodities; industrial and social constraints in the construction of performers’ bodies; medicalization of the pornographic body; ways of engaging the viewer: body affects, feelings, and visceral reactions. Cinema & Contemporary Visual Arts. The artistic/performative body In recent times, the long-standing tradition of Performance Art seems to be changing its course: several artists are turning their attention back to the “outside world”, using their own bodies (as well as the bodies of the audience) as tools to create aesthetic evolutions or even socio-political transformations.  Therefore,  the  Visual  Arts section aims  to investigate the human body as  a transforming  factor and  a subject of mutation, capable of activating processes of change in contemporary media cultures. The section invites scholars and researchers to explore: 1. The ways in which artistic performances attempt to involve the spectator as a “relational” subject (as Nicolas Bourriaud would say), taking into account performance as well as video art and other audio-visual productions; 2. The strategies and techniques with which these artistic performances engage both the artist and the viewer’s bodies, also considering the possibilities offered by digital technologies and online networks.

Media Archaeology. The archaeological/technological body This brand new section of the MAGIS Spring School is devoted to the multifaceted scholarly approach that goes under the label of Media Archaeology. Drawing on the outcomes of the XXI Udine Filmforum Conference “At the Borders of (Film) History”, in the next few years this section will undertake a project dedicated to the archaeology of the “technological body” – i.e. the body as constructed by technology – in the analog era. This edition will be focused on the body produced by non-theatrical films and videos. More specifically, we will investigate how film and video technologies have contributed to establish “interrelationships” in the non-theatrical realm, in terms of social identities, technological “gestures”, cognitive processes, and environments. Based on these premises, we invite proposals on: 1. Non-theatrical films and videos as the “material ground” through which cultural discourses and human agency have constructed social identities; 2. How the human body has incorporated technology and how technology has moulded new bodily frameworks, in particular taking into account the non-theatrical realm; 3. How this technological embodiment has created new ways of perceiving and thinking; 4. How the technological body shaped by non-theatrical films and videos has interacted with its own environment, modifying and technologizing its inner structures. Post-Cinema. The digital/post-organic body This section investigates the status of the body in the realm of new media, with particular attention to videogames, transmedia platforms, social networks, and other Internet features. The main focus of the 2016 edition will be on the processes through which new technological devices develop the condition of immersiveness, and how this condition affects the uses of the body. We invite proposals on: 1. The strategies through which specific technological devices (such as Virtual Reality headsets, Smart Glasses, Augmented Reality games and applications, etc.) create immersiveness; 2. How immersiveness impacts on the relationship between subjectivity, politics, and power, and on the definition of the borders between human and not human, organic and post-organic; 3. How immersiveness shapes contemporary non-linear narratives and interactive storytelling. 3. The developments of spectatorship in the digital age, and more specifically the ways in which new forms of media consumption engage the body of the viewer; 5. The ways in which the body itself is represented and addressed by new media texts and products (webseries, YouTube videos, grassroots productions, 3D and high definition cinema, videogames, etc.).   Film Heritage. The body and shape of film history For its 2016 edition, the section will organize interactive workshops in which former, current, and future ways of (and dispositifs for) presenting film history will be discussed. The digital turn within humanities has increased the interest in e-research and e-presentation, opening up new possibilities for presenting the “body” and the “artefacts” of film history. In this context, growing communities are building new collaborative environments, characterized by interactive access, re-uses, shared tools, and a combination of different archival resources. A similar ethos informs and strengthens the strategies enacted by museums and theatres in the organization of exhibitions aimed at preserving “original” presentations and creating haptic (or archaeological) relationships with films and related materials. In this case as well, the form of presentation defines the content and corpus of what is understood as film history. In order to understand present and future ways of presentation, the section will extensively investigate the “historical” ones, with the aim of building bridges and (re)discovering common issues among former, current, and future forms of presentation. The section is organized by the University of Udine – La Camera Ottica, CineGraph/Hamburg, University of Applied Sciences Potsdam & University of Potsdam (European Media Studies).

XXIII Udine International Film Studies Conference

Wednesday, March 9, 9.00 - 13.00 Sala della Torre, Fondazione Cassa di Risparmio di Gorizia Greetings Gianni Torrenti, Assessore regionale Cultura, Sport e Solidarietà Ettore Romoli, Sindaco di Gorizia Gianluigi Chiozza, Presidente Fondazione Cassa di Risparmio Gorizia Federico Portelli, Assessore alla Cultura, Provincia di Gorizia Andrea Zannini, Direttore Dipartimento di Studi Umanistici e Patrimonio Culturale dell’Università degli Studi di Udine Emilio Sgarlata, Presidente Consorzio Universitario di Gorizia Nicoletta Vasta, Direttore Centro Polifunzionale di Gorizia Simone Venturini Coordinatore Corso di laurea magistrale in Scienze e Pratiche del Patrimonio Audiovisivo / International Master in Cinema and Audiovisual Studies (IMACS) Introduction Leonardo Quaresima (Università degli Studi di Udine)

Presentation of the Film Heritage Section Hans-Michael Bock (Cinegraph, Hamburg), Jan Distelmeyer (Fachhochschule Postdam/Universität Potsdam), Simone Venturini (Università degli Studi di Udine) Keynote Address Pierre Bayard (Université Paris 8 – Vincennes-St Denis) Pour l’échangisme critique Discussion Break Keynote Address Maurizio Ferraris, Enrico Terrone (Università degli Studi di Torino) Automatic Sweethearts Without Names Discussion Chair: Leonardo Quaresima (Università degli Studi di Udine) Wednesday, March 9, 15.00-19.00 Sala della Torre, Fondazione Cassa di Risparmio di Gorizia Panel: Quantitative Analysis and Big Data András Bálint Kovács (Eötvös Loránd Tudományegyetem, Budapest) What Are Quantitative Methods Good For?

Guido Kirsten (Stockholm Universitet) Free Indirect Subjective Style in Film: Problems and Limits of Quantification Marta Boni (Université de Montréal) Working with Maps Manuel Garin (Universitat Pompeu Fabra, Barcelona), Albert Elduque (University of Reading) The Intermittence of Visual Motifs in Film History, a Quantitative Survey Discussion Chair: Trond Lundemo (Stockholms Universitet) Break Panel: Film Factory of Gestures Alan Salvadó, Gonzalo de Lucas (Universitat Pompeu Fabra, Barcelona) Film Factory of Gestures: History of Cinema Through the Body Language Ivan Pintor (Universitat Pompeu Fabra, Barcelona) A Case Study: Evil Gestures in Contemporary Cinema Discussion Chair: Alan Salvadó (Universitat Pompeu Fabra, Barcelona)

Wednesday, March 9, 21.00 Kinemax Gorizia, piazza Vittoria 41, Gorizia Kevin Brownlow: Film History on Screen Hollywood 9: Out West (Kevin Brownlow, David Gill, 1980, 50’) Cinema Europe – The Other Hollywood 4: The Music of Light (French Cinema) (Kevin Brownlow, David Gill, 1995, 60’) Presented by Kevin Brownlow, with Hans-Michael Bock (CineGraph, Hamburg)

Udine, Wednesday, March 9

Screenings

Udine, Thursday, March 10

Thursday, March 10, 9.00-13.00 Aula 4, Polo Santa Chiara, via Santa Chiara 1 Panel: TECHNÈS : Approches technologiques, questions esthétiques et histoire sans nom André Gaudreault (Université de Montréal), Laurent Le Forestier (Université Rennes 2) De l’uniformisation esthétique à la reconfiguration théorique: les vies multiples de la notion de “découpage” Fabien Le Tinnier (Université Rennes 2, Université de Lausanne) Le Style des machines: le cas “Aäton” Benoît Turquety (Université de Lausanne) La Question du style en histoire des techniques Discussion Chair: André Gaudreault (Université de Montréal) Break Panel: L’Histoire des formes au pluriel: quatre lectures pour une séquence de A Canterbury Tale Bruno Nassim Aboudrar (Université Sorbonne Nouvelle – Paris 3), Barbara Le Maître (Université Paris Ouest Nanterre), Teresa Castro (Université Sorbonne Nouvelle – Paris 3) A Canterbury Tale: une histoire de veduta et de transparence(s)

Térésa Faucon (Université Sorbonne Nouvelle – Paris 3), Dario Marchiori (Université Lyon 2) Questions de formes sans nom et de principes formels Teresa Castro (Université Sorbonne Nouvelle – Paris 3) De quoi parle-t-on quand on parle d’histoire des formes (filmiques)? Discussion Chair: Barbara Le Maître (Université Paris Ouest Nanterre), Teresa Castro (Université Sorbonne Nouvelle – Paris 3) Thursday, March 10, 15.00-19.00 Aula 4, Polo Santa Chiara, via Santa Chiara 1 Catherine Fowler (University of Otago), Miriam De Rosa (Università Cattolica del Sacro Cuore, Milano) Contaminated Histories of Art and Film: Thinking Topologically François Amy de La Bretèque (Université Paul Valéry Montpellier 3)  L’Anonymité revendiquée: le cas du cinéma militant Discussion Chair: François Amy de La Bretèque (Université Paul Valéry - Montpellier 3) Break

Panel: Apparitions, disparitions, transformations (in collaboration with the “Machines, Magie, Mèdias International Research Project”) Jean-Pierre Sirois-Trahan (Université Laval, Québec) Le Squelette du changement: Archéologie d’un motif figural Katharina Rein (Bauhaus Universität, Weimar) The Body Vanishing: Disappearances in Stage Magic in the Late Nineteenth Century Frank Kessler (Universiteit Utrecht), Sabine Lenk (Universiteit Antwerpen) Voir/Ne pas voir Discussion Chair: Frank Kessler (Universiteit Utrecht) Screenings Thursday, March 10, 21.00 Kinemax Gorizia, piazza Vittoria 41, Gorizia Bodies/Waves/Signals: Fragments from Yervant Gianikian e Angela Ricci Lucchi’s Research Videos Viaggio di La Rose (VCR, 15’, b/w, no sound, 1975) Essence (VCR, 5’, b/w, no sound, 1975) Courtesy of Gallerie d’Arte Moderna e Contemporanea di Ferrara

Films Catalogo della decomposizione (8mm, 10’, col., no sound, 1975) A proposito di Lombroso – Catalogo n. 2 (8mm, 20’, col., no sound, 1975) Karagoez et les brûleurs d’herbes parfumés (8mm, 12’, col., no sound, 1979) Essence d’absinthe (16mm, col., no sound, 15’, 1981) Film “perduto” (Hi8, 12’, col., no sound, 2008) Oh! Uomo (35mm, 72’, col., 2004) Fragments from Tremori (16mm, 10’) and Volti (16mm, 8’) Frammenti elettrici n. 1 – Rom (Uomini) (16mm, 13’, col., 2002) Presented by Yervant Gianikian and Angela Ricci-Lucchi, with Lisa Parolo and Cosetta Saba (Università degli Studi di Udine)

Udine, Friday, March 11

Friday, March 11, 9.00-13.00 Aula 4, Polo Santa Chiara, via Santa Chiara 1

Discussion Chair: Antonio Somaini (Université Sorbonne Nouvelle – Paris 3)

Panel: Cinema and the Anonymous History of Human Gestures and Techniques of the Body

Screenings

Antonio Somaini (Université Sorbonne Nouvelle – Paris 3) Ursprüngliche Impulse, Urges, besoins fondamentaux. Kracauer: Eisenstein and Bazin on the Anonymous, Anthropological Foundations of Cinema Emmanuelle André (Université Paris-Diderot – Paris 7) La Lune dans l’objectif : Galilée au cinéma Christa Blümlinger (Université Paris 8) Revenir sur les techniques du corps: A propos des recréations de Zoe Beloff Discussion Break Carmelo Marabello (Università IUAV di Venezia) Filming without Names. From the Gesell Dome to the Filmic Atlas of Balinese Childness: The Observational Cinema of Arnold Gesell and the Optical Photographical Unconscious of Gregory Bateson Riccardo Venturi (Institut National d’Histoire de l’Art, Paris) Matérialité de la projection: Fabio Mauri et le paracinéma

Friday, March 11, 21.00 Kinemax Gorizia, piazza Vittoria 41, Gorizia Ursula Biemann: Converged Bodies Performing the Border (Ursula Biemann, 1999, 42’) Writing Desire (Ursula Biemann, 2000, 25’) Presented by Vincenzo Estremo (Università degli Studi di Udine)

XIV MAGIS Gorizia – International Film Studies Spring School

Gorizia, Wednesday, March 9

Wednesday, March 9, 15.00-18.00 Workshops Polo Santa Chiara, via Santa Chiara 1

Coordinated by Hans-Michael Bock (CineGraph, Hamburg)

Film Heritage

Award Ceremony for the Limina Prize for Cultural Achievement

Kevin Brownlow (Film director and historian) Presenting Film History I Chair: Hans-Michael Bock (CineGraph, Hamburg) Screenings Wednesday, March 9, 21.00 Kinemax Gorizia, piazza Vittoria 41 Kevin Brownlow: Film History on Screen Hollywood 9: Out West (Kevin Brownlow, David Gill, 1980, 50’) Cinema Europe – The Other Hollywood 4: The Music of Light (French Cinema) (Kevin Brownlow, David Gill, 1995, 60’) Presented by Kevin Brownlow, with Hans-Michael Bock (CineGraph, Hamburg) Thursday, March 10, 9.30-13.00 Sala della Torre, Fondazione Cassa di Risparmio di Gorizia Director’s Talk Kevin Brownlow (Film director and historian)

Break

Panel: The Exquisite Corpus: Film Heritage and Found Footage Films. Passing Through/ Across Medias and Film Bodies Annaëlle Winand (Université de Montréal) The Body, the Film, the Archive Milo Adami (Sapienza – Università di Roma) Vidéo Cinéphage: Scratching, Re-editing, Re-visiting, Re-mixing and Mashing Up the Cinema Footage Guillaume Potvin (Université de Montréal) Body-building: Reassembling Arnold Schwarzenegger’s Film Body Discussion Chair: André Habib (Université de Montréal)

Film Heritage Kevin Brownlow (Film director and historian) Presenting Film History II Chair: Hans-Michael Bock (CineGraph, Hamburg) Screenings   Thursday, March 10, 21.00 Kinemax Gorizia, piazza Vittoria 41   Bodies/Waves/Signals: Fragments from Yervant Gianikian e Angela Ricci Lucchi’s Research Videos Viaggio di La Rose (VCR, 15’, b/w, no sound, 1975) Essence (VCR, 5’, b/w, no sound, 1975) Courtesy of Gallerie d’Arte Moderna e Contemporanea di Ferrara Films Catalogo della decomposizione (8mm, 10’, col., no sound, 1975) A proposito di Lombroso – Catalogo n. 2 (8mm, 20’, col., no sound, 1975) Karagoez et les brûleurs d’herbes parfumés (8mm, 12’, col., no sound, 1979)

Essence d’absinthe (16mm, col., no sound, 15’, 1981) Film “perduto” (Hi8, 12’, col., no sound, 2008) Oh! Uomo (35mm, 72’, col., 2004) Fragments from Tremori (16mm, 10’) and Volti (16mm, 8’) Frammenti elettrici n. 1 – Rom (Uomini) (16mm, 13’, col., 2002) Presented by Yervant Gianikian and Angela Ricci-Lucchi, with Lisa Parolo and Cosetta Saba (Università degli Studi di Udine)

Gorizia, Thursday, March 10

Thursday, March 10, 15.00-18.00 Workshops Polo Santa Chiara, via Santa Chiara 1

Gorizia, Friday, March 11

Friday, March 11, 9.30-13.30 Sala della Torre, Fondazione Cassa di Risparmio di Gorizia

Coordinated by Cosetta Saba (Università degli Studi di Udine)

Presentation of the Spring School Sections

Panel: Corps, matières, techniques: expositions spectaculaires

Cinema & Contemporary Visual Arts Francesco Federici (Università degli Studi di Udine/ESA Nord-Pas de Calais), Simone Dotto, Vincenzo Estremo, Lisa Parolo (Università degli Studi di Udine) Media Archaeology Diego Cavallotti, Giuseppe Fidotta, Andrea Mariani, Simone Venturini (Università degli Studi di Udine) Post-Cinema: Videogame/ Animations/ Comics Alberto Brodesco (Università degli Studi di Trento), Federico Giordano (Università per Stranieri di Perugia), Ludovica Fales (University of West London) Porn Studies: Cartography of the Pornographic Audiovisual Enrico Biasin, Giovanna Maina, Federico Zecca (Università degli Studi di Udine) Chair: Federico Zecca (Università degli Studi di Udine) Artist’s Talk Yervant Gianikian & Angela Ricci Lucchi

Break

Maria Ida Bernabei (Université Paris 8/Università IUAV di Venezia) Living Dead Frogs & Acrobatic Flies: Past Survivances in the First Scientific Films  Martin Beaulieu (Université du Québec à Montréal) Musée des désordres psychiques? La classification et l’utilisation du film thérapeutique en psychiatrie  Martin Bonnard (Université du Québec à Montréal) Drone: des visions à distance chevillées au corps  Discussion Chair: Viva Paci (Université du Québec à Montréal) Friday, March 11, 15.00-18.00 Workshops Polo Santa Chiara, Via Santa Chiara 1 Film Heritage Presenting Film History III Jan Distelmeyer (Fachhochschule Postdam/ Universität Potsdam) Interfacing with Film History: YouTube, the Body of Film, and the Gesture of Digitalicity

Beatriz Tadeo Fuica, Julieta Keldjian (Universidad Católica del Uruguay), Simone Venturini (Università degli Studi di Udine) Changes in Bodies Through Time: Reflections on the Digitization of Uruguayan Super-8 Short Films Chair: Jan Distelmeyer (Fachhochschule Postdam/ Universität Potsdam) Porn Studies: Cartography of Pornographic Audio-visual Feona Attwood (Middlesex University, London) “Total Immersion”? New Developments in Porn Studies Mirko Lino (Università degli Studi dell’Aquila/Università degli Studi di Palermo) Morphologies of the Body between Hard Core, Snuff and Virtual Pornography Sara Janssen (University of Kent) Sensate Vision: From Maximum Visibility to Haptic Erotics Chair: Clarissa Smith (University of Sunderland) Post-Cinema: Videogame/ Animations/Comics Kata Szita (Göteborgs Universitet) Haptic Cinema: Smartphones and The Spectator’s Body Juan Antonio Gómez Heredia (Universidad Iberoamericana, Mexico City) New Identities? Cosmetic Surgery and Bodily Identity

John Patrick Ayson (The State University of New York) The Interchangeable Body-Space as a Nomadic Subject-Object: The Excesses of Food Intake & Self-Quantifying Aps & the Artist as Artwork Ludovica Fales (University of West London) Weareble Technologies: A Potential Gateway to ExtraVirtual Immersion Bastien Daret (Université Sorbonne Nouvelle – Paris 3) Blockbusters: fabrique de corps contemporains Chair: Alberto Brodesco (Università degli Studi di Trento) Performance Friday, March 11, 18.00-19.00 Palazzo del Cinema, Aula Bianca Piazza Vittoria 41, Gorizia VeloKino: Sensors Mapping and Interactive Audio-visual Experiences Guillaume Arseneault (Université du Québec à Montréal) Presented by Viva Paci (Université du Québec à Montréal)

Screenings Friday, March 11, 21.00 Kinemax Gorizia, piazza Vittoria 41 Ursula Biemann: Converged Bodies Performing the Border (Ursula Biemann, 1999, 42’) Writing Desire (Ursula Biemann, 2000, 25’) Presented by Vincenzo Estremo (Università degli Studi di Udine)

Gorizia, Saturday, March 12

Saturday, March 12, 9.00-13.30 Sala della Torre, Fondazione Cassa di Risparmio di Gorizia Keynote Address Bernard Perron (Université de Montréal) Zombie Fiction and the Body of the Viewer Discussion Panel: Hapticity, Embodiment, Immersion Sonny Walbrou (Université de Lille) Bodies on Display: Videogame and the Idea(l) of Immersion Ariana Dongus (Universität Potsdam) From As-if to What-if: Creating Engineered Experiences in which Fiction and Reality Merge Discussion Chair: Ludovica Fales (University of West London) Break Panel: Redefining Pornographic Performance: Some Contexts and Debates Éric Falardeau (Université du Quebec à Montréal) L’Auteur pornographique Braden Scott (Concordia University) “Take It Like a Man”: Pornographic Archaeology in Kent Monkman’s Group of Seven Inches

Rosanna Maule (Concordia University) Are These Damsels in Distress? Anita Sarkeesian, Gender Tropes in Video Games, and the Pro/ Anti Porn Feminist Debate Discussion Chair: Rosanna Maule (Concordia University) Saturday, March 12, 15.00-18.00 Workshops Polo Santa Chiara, Via Santa Chiara 1 Media Archaeology Labour, Capture, Experience: Technological Mediations of the Body Mihaela Brebenel, Sasha Litvintseva (Goldsmiths, University of London) The Labour of Editing and the Gesture of Mounting Roberto Mozzachiodi, Nikolaus Perneczky (Goldsmiths, University of London) From Disavowal to Celebration: The Two Bodies of Screen Theory Sandra Kazlauskaitė, Alex Anikina (Goldsmiths, University of London) Exploring the Techno-mediated Being-with in Gallery Film Art Chair: Diego Cavallotti (Università degli Studi di Udine) Porn Studies: Cartography of Pornographic Audio-visual Keynote Address Thomas Waugh (Concordia University)

The Body? In? Gay? Porn?: A Bird in the Hand John Mercer (Birmingham City University) Bored, Detached and Distracted: Performance and the Amateur Body in Gay Porn Gianni Cimador (Università degli Studi di Trieste) Morphologies of an Intensive Infinite: The Male Body in Gay Porn Film Ofer Nordheimer Nur (Universitat Tel Aviv) DIY Gay Porn Websites: The Time Tunnel Chair: Oliver Carter (Birmingham City University) Post-Cinema: Videogame/ Animations/Comics Emine Görgül (İstanbul Teknik Üniversitesi) Transfiguring Ontology of Space: Space as a Becoming? Nicole Braida (Johannes Gutenberg-Universität Mainz) Displaced Bodies: Narrating Migration Trough Non-fictional Interactive Pratices Lucilla Calogero (Università IUAV di Venezia) Thinking in Paradoxes: The More Virtual It Is, the More Real It Is: Food for Thought About Immersion in Interactive Documentaries Albert Figurt (Independent Scholar)

The “Bodyfication” of Music Videoclips in the Era of Digital (DIY) Audiovisual Streams Camille Périssé (Université Sorbonne Nouvelle – Paris 3) Gravity ou l’exploration de l’espace corporel Chair: Bernard Perron (Université de Montréal) Screenings Saturday, March 12, 21.00 Kinemax Gorizia, piazza Vittoria 41 Homage to Boris Lehman Muet comme une carpe (Boris Lehman, 1987, 38’) Choses qui me rattachent aux êtres (Boris Lehman, 2010, 15’) Following 14 reels (curated by Luca Chinaglia, 2015, 50’) Presented by Boris Lehman, Luca Chinaglia, Florence Ménard (Barnabil Produzioni), Mirco Santi (Università degli Studi di Udine), Paolo Simoni (Università degli Studi di Modena e Reggio Emilia / Associazione Home Movies) Live music by Rocco Marchi, Francesca Baccolini / guest: Renato Rinaldi in collaboration with the project Memoria di Massa

Gorizia, Sunday, March 13

Sunday, March 13, 9.30-13.00 Sala della Torre, Fondazione Cassa di Risparmio di Gorizia

Sunday, March 13, 15.00-18.00 Workshops Polo Santa Chiara, Via Santa Chiara 1

Keynote Address Linda Williams (University of California, Berkeley) From “The Frenzy of the Visible” to “The Wonders of the Unseen World”

Media Archaeology

Discussion Break Keynote Address Laura U. Marks (Simon Fraser University, Burnaby) I Feel Like an Abstract Line Discussion Chair: Federico Zecca (Università degli Studi di Udine) Panel: Bodies, Technologies, Intimacies Gabriele Jutz (Universität für angewandte Kunst, Wien) “Body Genres” and Experimental Cinema Elisa Virgili (Università degli Studi dell’Insubria) Interviews, Confession and Gendered Identities in the Italian Media Context Jamie Hakim (University of East Anglia, Norwich) Chemsex: Queering Intimacy in Precarious Times Chair: Jackie Stacey (University of Manchester)

Linda Bertelli (IMT School for Advanced Studies, Lucca) Towards an Economy of the Body Giancarlo Grossi (Università Cattolica del Sacro Cuore, Milano) Hysterical Machines: A Brief History of Salpêtrière’s Graphic Devices Paula Arantzazu Ruiz (Universidad Pompeu Fabra, Barcelona) From Anatomical Theatres to Oh! Uomo, by Yervant Gianikian and Angela RicciLucchi: An Archaeology of the Medical Gaze Chair: Simone Venturini (Università degli Studi di Udine) Porn Studies: Cartography of Pornographic Audio-visual Oliver Carter (Birmingham City University) Retro Bodies: The Rialto Report as Community Archive Lesley Gabriel (Birmingham City University) An Ethnohistory of the BDSM Scene in Birmingham and the West Midlands Clarissa Smith (University of Sunderland) The Body of the Porn Star

Silvia Rodeschini (Università degli Studi di Firenze) “True” Stories: Narratives of the Body in Female Porn Performers’ Autobiographies Chair: John Mercer (Birmingham City University) Cinema and Contemporary Visual Arts Emanuela De Cecco (Libera Università di Bolzano) Once More: Eliasson, Ligna, Rimini Protokoll, the Unfinished History of Participation in Arts Barbara Gileno (Università di Bologna) The Game of War: Artivism, Play and the Insurgent Body Daniel Mann (Goldsmiths, University of London) The Kitchen Knife. Docile Bodies Striking Back Chair: Laura U. Marks (Simon Fraser University, Burnaby) Screenings Sunday, March 13, 21.00 Kinemax Gorizia, piazza Vittoria 41, Gorizia Miss Cinema - Mossina Archive (curated by Rinaldo Censi, Ilaria Ferretti, Mirco Santi and Paolo Simoni, 2015, 50’) Presented by Mirco Santi (Università degli Studi di Udine) and Paolo Simoni (Università degli Studi di Modena e Reggio Emilia/ Associazione Home Movies)

Live music by Renato Rinaldi / guest: Rocco Marchi, Francesca Baccolini in collaboration with the project Memoria di Massa

Gorizia, Monday, March 14

Monday, March 14, 9.30-13.00 Sala della Torre, Fondazione Cassa di Risparmio di Gorizia Award Ceremony for the XIV Limina Prize for Italian and International Film Studies Books Keynote Address Jackie Stacey (University of Manchester) Crossing Over with Tilda Swinton: Feminist and Queer Readings of Swinton’s Off-Gender Personae in Cinema and Beyond Discussion Break Keynote Address Jack Halberstam (University of Southern California) Queer Times/Queer Spaces and Transgender Lives Discussion Chair: Thomas Waugh (Concordia University)

Monday, March 14, 10.00-13.00 Polo Santa Chiara, Via Santa Chiara 1 Francesco Varanini (Università degli Studi di Pisa) Laboratorio in Filosofia dell’informatica umanistica: Le origini cinematografiche della cultura digitale Monday, March 14, 15.00-18.00 Workshops Polo Santa Chiara, Via Santa Chiara 1 Media Archaeology Rossella Catanese (Sapienza – Università di Roma) Dada Bodies Donatella Valente (Birkbeck, University of London) Technological Gesture in the Degraded Moving Image Monise Nicodemos (Université Sorbonne Nouvelle – Paris 3) Paolo Gioli, le corps comme apparatus Chair: Giuseppe Fidotta (Università degli Studi di Udine) Porn Studies: Cartography of Pornographic Audio-visual Olga Galicka (GoetheUniversität Frankfurt am Main) When Pornographic Bodies Become National Entities: The Construction of a National Sexuality in Russian Pornography of the 1990s

Giuseppe Previtali (Università degli Studi di Bergamo) The “Pornification” of Terror: Islamic State’s Images and the Spread of Hijab Porn Chair: Linda Williams (University of California, Berkeley) Cinema and Contemporary Visual Arts Cristian Borges (Universidade de São Paulo) Dance as Film: Dancing Bodies and Cinematic Movement Sarah Möller (Universität Potsdam) De- and Re-framing the Dancer’s Body: Relationship Between Body and Space in Contemporary Videodance Maria Teresa Soldani (Università degli Studi di Pisa) Film, Multimedia, and Intertextual Bodies: Independent Music and Art Scenes in New York 1976-1982 Chair: Simone Dotto (Università degli Studi di Udine), Francesco Federici (Università degli Studi di Udine/ESA Nord-Pas de Calais)

Gorizia, Monday, March 14

Noam Yuram (Universitat Ben Gurion Banegev) Sex and the State: Early Israeli Pornography, Perversion as Mobilization

Gorizia, Tuesday, March 15

Tuesday, March 15, 09.30-13.00 Sala della Torre, Fondazione Cassa di Risparmio di Gorizia

Tuesday, March 15, 15.00-18.00 Workshop Polo Santa Chiara, Via Santa Chiara 1

Keynote Address Erkki Huhtamo (University of California, Los Angeles) The Tasks of Media Archaeology

Media Archaeology

Discussion Chair: Simone Natale (Loughborough University) Break Panel: Screening Media Archaeology Giorgio Avezzù (Università Cattolica del Sacro Cuore, Milano) The Screen Ladies and Our Simulations: Dante’s Contribution to the History of Screen Practice Simone Natale (Loughborough University) The Historian and the Antiquarian: On Four Tenets of Media Archaeology  Jesko Jockenhövel (Filmuniversität Babelsberg Konrad Wolf, Potsdam) Sublime Interactions: Digital-3D and Virtual Reality as Interface Discussion Chair: Andrea Mariani (Università degli Studi di Udine)

Jonathan Rozenkrantz (Stockholms Universitet) Technostalgic Bodies: The Paradox of “Old Skool Rave” Videos Elena Gipponi (Libera Università di Lingue e Comunicazione IULM, Milano) Abbronzatissimi: Colourful Bodies in the Home Movies of Italy’s Postwar Boom Diego Cavallotti, Andrea Mariani (Università degli Studi di Udine) Gestures, Environments, and Technologies: Reframing the Amateur Practice Paolo Simoni (Università degli Studi di Modena e Reggio Emilia) In Search of Beauty: Exposing the Mossina Screen Tests Archive Chair: Erkki Huhtamo (University of California, Los Angeles) Porn Studies: Cartography of Pornographic Audio-visual Mariana Baltar (Universidade Federal Fluminense, Rio de Janeiro) Porn and Romance, Aesthetics of Excess to Celebrate Pleasure and Dissident Partnership

Érica Sarmet (Universidade Federal Fluminense, Rio de Janeiro) Sin porno no hay posporno: Pornography, Art and Activism in Latin America Alessandra Mondin (University of Sunderland) The Desiring Bodies of Feminist Pornographies Chair: Silvia Rodeschini (Università degli Studi di Firenze) Cinema and Contemporary Visual Arts Malgorzata Radkiewicz (Jagiellonian Uniwersytet Krakow) The Performative Body in Video Arts of Polish Artists: Katarzyna Kozyra, Izabela Gustowska and Bogna Burska Dalila D’Amico (Sapienza – Università di Roma) The Disabled Body Between Past and Present: Photography and Performance Art Delia Enyedi, Cristina Pop-Tiron, Claudia Negrea (Universitatea Babeș-Bolyai, Cluj-Napoca) Narrative Body: Film Spectatorship in the Post-Media Era Chair: Vincenzo Estremo, Lisa Parolo (Università degli Studi di Udine)

Udine/Gorizia, Screenings

Wednesday, March 9, 21.00 Kinemax Gorizia Piazza Vittoria 41

Thursday, March 10, 21.00 Kinemax Gorizia Piazza Vittoria 41

Friday, March 11, 21.00 Kinemax Gorizia Piazza Vittoria 41

Kevin Brownlow: Film History on Screen Hollywood 9: Out West (Kevin Brownlow, David Gill, 1980, 50’) Cinema Europe – The Other Hollywood 4: The Music of Light (French Cinema) (Kevin Brownlow, David Gill, 1995, 60’)

Bodies/waves/signals: Fragments from Yervant Gianikian e Angela Ricci Lucchi’s Research

Ursula Biemann: Converged Bodies Performing the Border (Ursula Biemann, 1999, 42’) Writing Desire (Ursula Biemann, 2000, 25’)

Presented by Kevin Brownlow, with Hans-Michael Bock (CineGraph, Hamburg)

Courtesy of Gallerie d’Arte Moderna e Contemporanea di Ferrara

Videos Viaggio di La Rose (VCR, 15’, b/w, no sound, 1975) Essence (VCR, 5’, b/w, no sound, 1975)

Films Catalogo della decomposizione (8mm, 10’, col., no sound, 1975) A proposito di Lombroso – Catalogo n. 2 (8mm, 20’, col., no sound, 1975) Karagoez et les brûleurs d’herbes parfumés (8mm, 12’, col., no sound, 1979) Essence d’absinthe (16mm, col., no sound, 15’, 1981) Film “perduto” (Hi8, 12’, col., no sound, 2008) Oh! Uomo (35mm, 72’, col., 2004) Fragments from Tremori (16mm, 10’) and Volti (16mm, 8’) Frammenti elettrici n. 1 – Rom (Uomini) (16mm, 13’, col., 2002) Presented by Yervant Gianikian and Angela Ricci-Lucchi, with Lisa Parolo and Cosetta Saba (Università degli Studi di Udine)

Presented by Vincenzo Estremo (Università degli Studi di Udine)

Saturday, March 12, 21.00 Kinemax Gorizia Piazza Vittoria 41

Sunday, March 13 Kinemax Gorizia Piazza Vittoria 41

Homage to Boris Lehman Muet comme une carpe (Boris Lehman, 1987, 38’) Choses qui me rattachent aux êtres (Boris Lehman, 2010, 15’)

Miss Cinema - Mossina Archive (curated by Rinaldo Censi, Ilaria Ferretti, Mirco Santi and Paolo Simoni, 2015, 50’)

Following 14 reels (curated by Luca Chinaglia, 2015, 50’) Presented by Luca Chinaglia (Barnabil Produzioni), Boris Lehman, Florence Ménard (Barnabil Produzioni), Mirco Santi (Università degli Studi di Udine) and Paolo Simoni (Università degli Studi di Modena e Reggio Emilia) Live music by Rocco Marchi, Francesca Baccolini / guest: Renato Rinaldi in collaboration with the project Memoria di Massa

Presented by Mirco Santi (Università degli Studi di Udine) and Paolo Simoni (Università degli Studi di Modena e Reggio Emilia/ Associazione Home Movies) Live music by Renato Rinaldi / guests: Rocco Marchi, Francesca Baccolini in collaboration with the project Memoria di Massa

FILM FORUM 2016 Goethe-Universität – Frankfurt am Main University of Malta Université de Montréal Concordia University – Montréal Université Sorbonne Nouvelle – Paris 3 Université du Quebec à Montréal Fachhochschule Postdam Universität Potsdam Università degli Studi di Udine Associazione Culturale LENT LIRA – Laboratoire International de Recherches en Arts CineGraph, Hamburg GRAFICS – Groupe de recherche sur l’avènement et la formation des institutions cinématographique et scénique, Université de Montréal CineFest, Hamburg Associazione Home Movies – Archivio Nazionale del Film di Famiglia Transmedia, Gorizia Palazzo del Cinema Gorizia – Hiša Filma Gorica Mediateca Provinciale di Gorizia “Ugo Casiraghi” Goriška Pokrajinska Mediateka “Ugo Casiraghi” Dottorato Internazionale in Studi Storico Artistici e Audiovisivi Laurea Magistrale Internazionale in Discipline del Cinema / IMACS – International Master in Audiovisual and Cinema Studies Corso di Laurea DAMS, Gorizia Corso di Laurea in Relazioni Pubbliche, Gorizia CEGO - Centro Polifunzionale di Gorizia SCOM - Servizio comunicazione, Università degli Studi di Udine Centro Studi di Ricerche sulla Sceneggiatura “Sergio Amidei”, Gorizia Cinemantica, Laboratorio Cinema e Multimedia, Udine La Camera Ottica, Film and Video Restoration, Gorizia Crea, Centro Ricerca Elaborazione Audiovisivi, Gorizia

In collaboration with the journals Cinéma & CIE: International Film Studies Journal, G|A|M|E: The Italian Journal of Game Studies In collaboration with the project

With the support of

Comune di Gorizia Sponsor of the Limina Prize

http://www.filmforumfestival.it/

UNIVERSITÀ DEGLI STUDI DI UDINE hic sunt futura

DIPARTIMENTO DI STUDI UMANISTICI E DEL PATRIMONIO CULTURALE

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