Table of Contents

- Preface: Rossella Catanese, The Polyexpressive Symphony of Futurist Cinema [Section 1: Joyful Deformation Of The Universe] - Introduction: Giovanni Lista, The Poetics of Futurist Cinema - Paolo Bertetto, Speed and Dynamism. Futurism and the Soviet Cinematographic Avant-garde - Valentina Valente, Futurism and Film Theories. Manifesto of Futurist Cinema and Theories in Italy in the 1910-20s - Sabine Schrader, Film Aesthetics Without Film - Wanda Strauven, Hand Journeys: From Marinetti’s Tattilismo to Past and Present Touch Screens - Elisa Uffreduzzi, Dance and Futurism in Italian Silent Cinema - Antonio Saccoccio, Futurism and the Cinema in the ’10s: a Reinterpretation Starting From McLuhan - Giancarlo Carpi, The human in the fetish of the human: cuteness in Futurism cinema, literature and visual arts [Section 2: Daily Filmed Exercises Designed To Free Us From Logic] - Denis Lotti, Futurist Yambo on the Moon. From La colonia lunare to Un matrimonio interplanetario - Rossella Catanese, An Avant-Garde Heritage. ‘Vita futurista’ - Lucia Re, Thaïs: A Different Challenge to the Stars - Carolina Fernández Castrillo, Velocità (1917): From Futurist Simultaneity to Live Streaming Media - Rossella Catanese, ‘Velocità/Vitesse’: Filmed Dramas Of Objects And ‘Avant-garde Integrale’ - Francesca Veneziano, From Science to Marvelous: the Works on Mobility, Between Chronophotography and Contemporary Cinema [Section 3: Shopwindows Of Filmed Ideas, Events, Types, Objects] - Fernando Maramai, Chronology - Marcello Seregni, Filmography - Index - Authors’ biographies

About the Author

Rossella Catanese is a postdoctoral researcher at the University of Udine and at NYU Florence.

Reviews

"The selection of case studies featured in Catanese’s edited volume solidify the canon of Futurist film; this book is destined to become a go-to for anyone discussing the movement in the context of cinema." - Malgorzata Bugaj (University of Edinburgh), NECSUS Journal, May 2020 "Futurist Cinema draws materials from different disciplines, reflecting the "poly-expressiveness" of the movement, through the lense of media theory, sensorial perception, national culture, movie narrative, dance performance, and various other fields. It is a multi-dimensional scanning of the few films produced or only scripted and what they represent." - Neural magazine, July 2019 "This groundbreaking interdisciplinary book brings together scholars of avant-garde Italian futurism of the 1910s and 1920s to offer insights on Italian futurist cinema and its cinematic production. The methodological approaches span film and media studies, film theory and literary criticism, cultural and gender studies, and visual and performing art studies. The contributors offer unique perspectives on this early-20th-century avant-garde movement, demonstrating that it influenced not only other movements, such as Soviet futurism, but also visual arts, literature, and dance. Thanks to the different approaches, what emerges from this scholarly work is the notion that futurist cinema can be understood only by engaging it in a theoretical framework that takes into consideration all the diverse possibilities of the arts. In the second part of the book some important futurist films are analyzed through close readings, adding filmic analysis to the more critical and theoretical first part. Part 3 comprises a chronology of futurism and a filmography, both crucial to the book." Summing Up: Recommended. Graduate students, researchers, faculty. - C. De Santi, Farmingdale State College SUNY, Choice Reviews "Futurist Cinema, La naissance du cinéma moderne, Pierre Pageau. SÉQUENCES, Decemeber 2018