Francesco Zucconi – författare

How the cinematic gaze reveals the hidden operations of border zonesExamining a variety of documentary films made along the borders of Europe since the turn of the twenty-first century, Border Mediascapes takes a cinematic eye to the technologies employed in governing spatial movement. Working at the intersections of social sciences, political theory, contemporary media, and cinema aesthetics, this book expands our understanding of the border as not just a static political boundary inscribed on a map but a complex, dynamic network of human and nonhuman agents. Francesco Zucconi asserts that contemporary borders are environments defined by media: a perpetually shifting set of interactions between physical bodies and sensors, surveillance cameras, satellites, mapping programs, digital signage, and cellular devices. Analyzing documentaries filmed by or in collaboration with migrants, Border Mediascapes demonstrates how cinema can be used to reveal the otherwise unseen apparatuses that facilitate systematized practices of recognition, expulsion, and erasure. As he details the ways specific border technologies measure and identify individuals as part of the larger project of territorial control, Zucconi illustrates the effectiveness of cinema for capturing the entanglement of geopolitics and biopolitics. Viewing the cinematic perspective as simultaneously analytical, critical, and complicit with the new technological frontier, Zucconi shows how the medium can deepen our understanding of borders as sites of power, resistance, and resilience. Retail e-book files for this title are screen-reader friendly with images accompanied by short alt text and/or extended descriptions.

How the cinematic gaze reveals the hidden operations of border zonesExamining a variety of documentary films made along the borders of Europe since the turn of the twenty-first century, Border Mediascapes takes a cinematic eye to the technologies employed in governing spatial movement. Working at the intersections of social sciences, political theory, contemporary media, and cinema aesthetics, this book expands our understanding of the border as not just a static political boundary inscribed on a map but a complex, dynamic network of human and nonhuman agents. Francesco Zucconi asserts that contemporary borders are environments defined by media: a perpetually shifting set of interactions between physical bodies and sensors, surveillance cameras, satellites, mapping programs, digital signage, and cellular devices. Analyzing documentaries filmed by or in collaboration with migrants, Border Mediascapes demonstrates how cinema can be used to reveal the otherwise unseen apparatuses that facilitate systematized practices of recognition, expulsion, and erasure. As he details the ways specific border technologies measure and identify individuals as part of the larger project of territorial control, Zucconi illustrates the effectiveness of cinema for capturing the entanglement of geopolitics and biopolitics. Viewing the cinematic perspective as simultaneously analytical, critical, and complicit with the new technological frontier, Zucconi shows how the medium can deepen our understanding of borders as sites of power, resistance, and resilience. Retail e-book files for this title are screen-reader friendly with images accompanied by short alt text and/or extended descriptions.

This book takes its start from a series of attempts to use Caravaggio’s works for contemporary humanitarian communications. How did his Sleeping Cupid (1608) end up on the island of Lampedusa, at the heart of the Mediterranean migrant crisis? And why was his painting The Seven Works of Mercy (1607) requested for display at a number of humanitarian public events? After critical reflection on these significant transfers of Caravaggio’s work, Francesco Zucconi takes Baroque art as a point of departure to guide readers through some of the most haunting and compelling images of our time. Each chapter analyzes a different form of media and explores a problem that ties together art history and humanitarian communications: from Caravaggio’s attempt to represent life itself as a subject of painting to the way bodies and emotions are presented in NGO campaigns. What emerges from this probing inquiry at the intersection of art theory, media studies and political philosophy is an original critical path in humanitarian visual culture.

This book takes its start from a series of attempts to use Caravaggio’s works for contemporary humanitarian communications. How did his Sleeping Cupid (1608) end up on the island of Lampedusa, at the heart of the Mediterranean migrant crisis? And why was his painting The Seven Works of Mercy (1607) requested for display at a number of humanitarian public events? After critical reflection on these significant transfers of Caravaggio’s work, Francesco Zucconi takes Baroque art as a point of departure to guide readers through some of the most haunting and compelling images of our time. Each chapter analyzes a different form of media and explores a problem that ties together art history and humanitarian communications: from Caravaggio’s attempt to represent life itself as a subject of painting to the way bodies and emotions are presented in NGO campaigns. What emerges from this probing inquiry at the intersection of art theory, media studies and political philosophy is an original critical path in humanitarian visual culture.