FESTIVAL INTERNATIONAL DE FILM ET VIDEO DE CREATION
New moving images

3rd Edition

From May 6 to May 9, 2008
At the Académie Libanaise des Beaux-Arts (ALBA) - Sin el Fil - Lebanon

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PRESENTATION

3rd Edition
May 2008

2nd Edition
March 2006

1st Edition (French version only)
April 2004

 

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PROGRAM
DUE TO THE RECENT SITUATION IN LEBANON, THIS LECTURE IS CANCELED

 

Romano Fattorossi
Romano Fattorossi, (Rome, 1953) begins his activity by being in charge of quality cinema on the radio at first, and later on in the press. He achieves colloquiums about cinema, tributes to different authors (Olmi, Mikalkiv…), he collaborates with some festivals (Montreal, Caracas, Venice, Torino…), he directs other ones (Montecatini, Pantelleria …) This activity leads him to be general delegate of the C.I.C.A.E. (Confédération Internationale des Cinémas d’Art et Essai) and president of Media Salles.
As he considers that moving image interests him as an art form, it is all naturally that he founds, in 1990, INVIDEO, the experimental cinema and video art festival that is celebrating its 18th edition this year, and that he is still co-directing.

In order to follow the authors in their itinerary that goes, more and more, from the mono-channel work to the multi-channel one (or even interactive), he creates in Milan, in 1999, TECHNE, a video installation and interactive installations biennale exhibition which is today in its 3thd edition.
He is also in charge of the promotion of the European and Arab cinema, through internet, within the Europanet and the MedScreen projects.

 

Lecture by Romano Fattorossi
"Beyond the mimetic image. The wabi-sabi image. Original characters and research of identity"
Language of the lecture: French

There is a cinema that imitates the realty and reproduces it: from Lumiere to 3D, going through sound and special effects. This cinema has a very important function:
The fulfilling of dreams and knowledge of the world. It plays also a very important economic role.
Still, it has as well another way of using image: the one that experiments the image’s specific possibilities, starting from the twenties cinematographic avant-garde, the sixties video pioneers, until today’s digital tendency. It is the non mimetic image.
What is the INVIDEO role in this context? A historical overview is presented throughout the different editions’ titles.
Conclusion: what is the use of video art?

 

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