Marco Grosoli

Assistant Professor / Humboldt Research Fellow

Marco Grosoli ist Assistant Professor in Filmwissenschaft an der Habib Universität Karachi (Pakistan). Neben mehreren akademischen Aufsätzen und hunderten Filmkritiken (vor allem für italienische Filmzeitschriften) hat er zwei Monographien verfasst: eine (auf Italienisch) über den ungarischen Regisseur Béla Tarr, die andere über die Frühzeit der französischen politique des auteurs (Eric Rohmer’s Film Theory (1948-1953): Amsterdam University Press, 2018). Letztere war das Hauptergebnis eines von der British Academy geförderten Post-Doc-Forschungsprojekts, das er an der University of Kent zwischen 2012 und 2015 durchgeführt hat. Zuvor promovierte er an der Universität Bologna über das Gesamtwerk von André Bazin (ungefähr 2.600 Artikel). An der Filmuniversität arbeitet er vor allem an einer zweiten Monographie über die französische politique des auteurs, die sich auf die Jahre 1954 bis 1960 konzentriert.

Fachgebiet:

• Filmwissenschaft

Lehr- und Forschungsinteressen:

• Filmgeschichte, Filmkritik, Filmtheorie, Filmphilosophie, World Cinema

Veröffentlichungen:

• Monographien:

Eric Rohmer’s film theory (1948-1953). From 'école Schérer' to 'Politique des auteurs'. Amsterdam: Amsterdam University Press, 2018.

Armonie contro il giorno. Il cinema di Béla Tarr, Bologna: Bébert, 2014.

• Sammelbände:

La capture de mouvement ou le modelage de l’invisible, Rennes: Presses Universitaires de Rennes, 2014 (co-edited with Jean-Baptiste Massuet).

Consumato dal fuoco: il cinema di Guy Debord. Pisa: ETS, 2012 (co-edited with Monica Dall’Asta).

• Sondernummern von Zeitschriften:

“The Cahiers Film Critics in Arts Magazine”, special issue of Film Criticism vol. XXXIX, no. 1 (Fall 2014). (co-edited with Hervé Joubert-Laurencin).

• Aufsätze und Buchkapitel (Auswahl):

“Never, Always and Already Saved. A Soteriological Reading of Norte and Florentina Hubaldo, CTE”, in Parichay Patra ed., Lav Diaz, Bristol: Intellect Books, 2021, pp. 78-94.

“André Bazin e la tauromachia. Realismo cinematografico come riconfigurazione del binomio potenza/atto”, in Alessia Cervini and Giacomo Tagliani ed., La forma cinematografica del reale. Teorie, Pratiche, Linguaggi: da Bazin a Netflix, Palermo, Palermo University Press, 2020, pp. 3-11.

« Bazin et ses lecteurs », in Critique no. 857 (Octobre 2018), pp. 837-847.

“Jusqu'au bout de la Nouvelle Vague: Claude Chabrol’s (and Paul Gégauff's) Une partie de plaisir (1975)”, in Douglas Morrey ed., Studies in French Cinema 17:2 (special issue on The New Wave), 2017.

“Les influences philosophiques de Rohmer critique”, in Hugues Moreau ed., Le Paradis français d'Eric Rohmer, Paris: Pierre-Guillaume de Roux, 2017, pp. 211-227.

“The global city and the cinematic novel. Jersey City in Lav Diaz's Batang West Side”, in Manila Castoro and Carolina Vasilikou eds., Contesting Artscapes: Essays on cultural localities and political narratives, Jefferson: McFarland, 2018, pp. 168-176.

“The Professor, the Tourist and the Bombshell. The Young Federal Republic of Germany in Italian Cinema”, in Olaf Brill and Olaf Moeller eds., Beloved and Rejected: The Cinema of Young Federal Republic of Germany (1949-63), Frankfurt/Locarno: Deutsches Filminstitut/Locarno Film Festival, 2016, pp. 304-313.

“André Bazin: il cinema come compimento e inversione del mito”, Fata Morgana 29, Cosenza: Luigi Pellegrini Editore, 2016, pp. 51-62.

“Space and Time in the Land of the End of History. The Cinema of Lav Diaz”, in Jeong Seung-Hoon and Jeremi Szaniawski eds., The Global Auteur: Politics and Philosophy in 21^st Century Cinema, London: Bloomsbury, 2016, pp. 303-322.

“The Vertical Frontier. Amir Naderi's Vegas and the End of American Dream after 9/11”, in Scott Stoddart ed., The New Western: Critical Essays on the Genre since 9/11, Jefferson: McFarland, 2016, pp. 207-228.

“The Politics and Aesthetics of the politique des auteurs”, in Film Criticism vol. XXXIX, no. 1 (Fall 2014), pp. 33-50.

“Ocean Doesn't Live Here Anymore: Steven Soderbergh's Contagion and the Stock Market Crash”, in Heiko Feldner, Fabio Vighi and Slavoj Žižek (eds.), States of Crisis and Post-Capitalist Scenarios, Farnham: Ashgate, 2014, pp. 167-179. 

“The Paradox of the ‘Dictactor’: Mimesis, the Logic of Paradox and the Reinstatement of Catharsis in The Great Dictator, Monsieur Verdoux and Limelight”, in Lawrence Howe, James E. Caron and Benjamin Click (eds.), Refocusing Chaplin: A Screen Icon Through Critical Lenses, Lanham: Scarecrow Press, 2013, pp. 141-162.

"History Is Always Virgin. Quentin Tarantino's Inglourious Basterds and the Lyotardian Sublime", in Todd Comer and Isaac Vayo eds., Terror and the (Post)Cinematic Sublime, Jefferson: McFarland, 2013, pp. 88-102.

“Il compimento dell'oggetto fotografico nel tempo”, Fata Morgana 21, Cosenza: Luigi Pellegrini Editore, 2013, pp. 57-69.

"Surface vs. Depth: Ernst Lubitsch's That Uncertain Feeling as anti-late modernism", Comedy Studies, vol. 3, n° 1, Bristol: Intellect Journals, 2012, pp. 53-64.

"Back to the Future of Capitalism: A Christmas Carol in 3d", in Agnes Petho ed., Film in the Post-Media Age, Newcastle: Cambridge Scholars Publishing, 2012, pp. 227-238.

"François Truffaut", in Il Mulino 1/12, vol. LXI, no. 459, 2012, pp. 160-166.

"André Bazin: Film as Social Documentary", New Readings, vol. 11 (2011), pp. 1-16 [http://ojs.cf.ac.uk/index.php/newreadings/article/view/41/92].

"The Sin of Repetition", Cinéma et Cie., Vol. XI, no. 16-17, Spring-Fall 2011, pp. 121-132.

“Motion/Performance Capture and the Afterlife of the Index. A Reconsideration of André Bazin’s 'Myth of Total Cinema'”, RS•SI, vol. 31 (2011) nos 1-2-3, Montreal: Association canadienne de sémiotique / Canadian Semiotic Association, pp. 153-173.

"Rohmer's Les Amours d'Astrée et de Celadon as a Systematical Synthesis for Bazin's Space-Based Adaptation Theory", Journal of Adaptation in Film and Performance, vol. 3, n° 2, Bristol: Intellect Journals, 2010, pp. 115-127.

• Rezensionen:

“Tertium Datur: The Cinema of Alexander Sokurov by Jeremi Szaniawski”, Senses of Cinema 73 (December 2014), http://sensesofcinema.com/2014/book-reviews/tertium-datur-the-cinema-of-alexander-sokurov-by-jeremi-szaniawski-2/ .

“Late Bresson and the Visual Arts: Cinema, Painting and Avant-Garde Experiment by Raymond Watkins”, H-France Reviews vol. 20 (July 2020). https://h-france.net/vol20reviews/vol20no137grosoli.pdf