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BOOK DOWNLOAD QUO VADIS?, CABIRIA AND THE ‘ARCHAEOLOGISTS’

•November 10, 2024 • Leave a Comment

Dear blog readers,

From today, 10 November 2024, you can download the PDF of my latest monograph,
Quo vadis?, Cabiria and the ‘Archaeologists’: Early Italian Cinema’s
Appropriation of Art and Archaeology, from this website. As I am very much in
favour of open data and open access, I am happy that my editor Kaplan in Turin
has permitted me to do so. As my previous monograph Reframing Luchino Visconti
was downloaded from this site over 5000 times, we’ll see how far this book gets.
Enjoy! And if you intend to write a review, please let me know.

If instead you’d prefer the paper version, it is still for sale at the site of
Kaplan, or with various book sellers.

And if you’d like to (re)watch the book trailer, here it is:



Kindest regards,

Ivo Blom





Posted in Uncategorized


REVIEWS OF MY BOOK AND A REVIEW OF MY CONDITION

•October 22, 2024 • 2 Comments

While I normally mainly post about work, this time I couldn’t avoid some info on
my personal state of affairs. Indeed, it is a long time since my last post of
November 2023, but meanwhile, a lot has happened. I had a brain infarct at
Easter this year, which upset my balance and coordination. After two weeks of
hospital, I was six weeks at a rehab clinic, where I underwent the whole
trajectory from wheelchair to rollator to walking stick. End of May I went back
home. Since mid-August I walk without the stick but I am still practising (with
a helmet) to ride my bike again. An Amsterdamer without a bike is not possible,
but getting used to the traffic of fast fat bikes and normal bikes is a
challenge, in addition to cars, trams, buses, delivery vans, trucks, and
tourists. My energy is still limited, so I still get tired quite easily, and my
walks can still be wobbly.

Many of my Spring and early Summer activities had to be cancelled, while my
teaching and grading obligations were swiftly taking over by others – a relief
and a big thank you. Yet, I conquered all the obstacles to go to Cinema
Ritrovato in Bologna end of June (a first milestone in my recovery trajectory),
where I even co-introduced a film and chaired a workshop. Afterward, I worked
hard on my recovery the whole Summer through. I also managed to go on holidays
to Southwest England in September (alternating walks with rest & reading). I
recently undertook the trip to Pordenone for the Giornate del Cinema Muto, the
first trip on my own. It was all tiresome but deeply gratifying, and I was
greatly helped by others such as the festival managements, the therapists from
the rehab clinic, and my own man.

This Autumn, I have started my work on the research project Museum of Dream
Worlds again, but low key and mostly from my home. We moved our next workshop
(on invitation, small group) at Eye Filmmuseum from November to next April, so
we’ll have more time to prepare. For this, I will not only research the Eye
collection, but I will also visit some Parisian archives, together with the
opening of the upcoming exhibition Peplum at the Fondation Seydoux-Pathé (11
December). We are working on our database of BFI silents on Greco-Roman
Antiquity, which gives me great joy and for which I can greatly benefit from my
previous research, including my 2023 book Quo vadis?, Cabiria, and the
‘Archaeologists’: Early Cinema’s Appropriation of Art and Archaeology (Torino:
Kaplan, 2023). I already identified a few film titles and actors, but could also
deepen my research in recycling of sets.

Meanwhile, reviews of my book gradually come in. After Jan-Christopher Horak’s
first review on his blog Archival Spaces (November 2023), it was particular this
year that reviews appeared in a wide array of journals, from film & media
journals like Screen, Imago (Roma3) and Medienwissenschaft Rezensionen/Reviews,
to art journals (Nineteenth-Century Art Worldwide), and journals on Ancient
Studies (International Journal of the Classical Tradition). Reviews already
written will appear soon in Annali di italianistica, Incontri, Histoire de l’Art
and Cinéma et Cie. Other reviews have been promised for Nineteenth -Century
Theatre and Film and The Historical Journal for Film, Radio and Television.
Deeply grateful also for this. You can read the published reviews here.

Posted in Uncategorized


UPCOMING BOOK PRESENTATION AND PREVIOUS ONES

•November 9, 2023 • Leave a Comment

Here is an update on the presentations of my new book, Quo vadis?, Cabiria and
the ‘Archaeologists’: Early Italian Cinema’s Appropriation of Art and
Archaeology (Turin: Kaplan, 2023). So far, I have given book presentations in
October-November in: Pordenone (Giornate del Cinema Muto, 12/10), Turin
(University of Turin, 17/10), Rome (Royal Dutch Institute, 20/10), and Amsterdam
(Eye Filmmuseum, 3/11).

Dimitrios Latsis, myself, Paolo Tosini. Photo courtesy Valerio Greco Dominique
Nasta and myself

The presentation in Pordenone was the international premiere and the launch of
the extended book trailer (only visible at presentations, in contrast to the
teaser on YouTube). Together with two other book presentations, I had a Q&A with
the Giornate’s book fair coordinator and host, Paolo Tosini. We had some sixty
visitors. Afterward, there was a nice drink at the Teatro Verdi, where I signed
various books.

Giulia Carluccio, Domenico De Gaetano, myself, Claudia Gianetto Palazzo del
Rettorato, Turin Alessia Fassone, Giovanna Ginex, Silvio Alovisio, myself,
Claudia Gianetto

The second edition was in Turin at the Sala Blu of the Palazzo del Rettorato, an
impressive 17th century building and the heart of university of Turin. Our panel
consisted of e.g. the vice-rector and professor Media Studies Giulia Carluccio
and Domenico De Gaetano, director of the Museo Nazionale del Cinema, who both
gave welcome words and paid tribute to the book, while Claudia Gianetto (Museo
Nazionale del Cinema) chaired the session. Afterward, we had a nice
interdisciplinary series of presentations by myself, by Silvio Alovisio on early
Italian cinema, transnationality and transmediality, Alessia Fassone on the
Museo Egizio and Egyptomania, and Giovanna Ginex on Italian 19th century
painters of Antiquity. After answering questions from the audience (among whom
experts in film, theatre, art, etc.), we closed off with drinks in the
courtyard.

Monika Wozniak Maria Assunta Pimpinelli Dir. Tesse Stek and myself

The third edition took place at the Dutch Institute (KNIR) in Rome, which is
idyllically situated just outside of the Villa Borghese park, in a monumental
villa from the 1930s. Despite a public transport strike and sirocco, we managed
to have representatives from all three Roman universities, either in our panel
or among the audience. While Maria Bonaria Orban, staff member History of the
Institute, chaired the round table, we had a rich mix of disciplines
represented, with Luca Mazzei (Tor Vergata) on the historiography of Italian
silent film, Stefano Cracolici (Durham University) on cinema of the 1910s as one
of transfiguration & belatedness, Monika Wozniak (Sapienza) on Quo vadis in art
& popular culture, and Maria Assunta Pimpinelli (Cineteca Nazionale) on the
archivist perspective, canon & availability of prints. After my own speech, I
offered the book to managing director, Tesse Stek. Also here, we had a merry
round of drinks to toast on the book. The round table & presentation was also an
excellent way to meet old and new friends in Rome again.

Elif Rongen and myself Signing and selling during the reception Almost a full
house

The fourth presentation took place at the Amsterdam Eye Filmmuseum, an institute
with which I already have a forty years old relationship, both privately and
professionally. After the welcome by Elif Rongen, Head of Silent Film, and me,
we had the extended trailer once more (greatly admired and in presence of the
editor Machiel Sprujt), followed by an informal Q&A between Elif Rongen and me.
Finally, we showed the compilation film film Italia: Fire and Ashes by Céline
Gailleurd and Olivier Bohler, which had commentary by Isabella Rossellini, and
which contains many clips from the Eye collection (the highest number, compared
to other archives). Attendance was massive, over ninety persons, while also the
drinks afterward at the atrium were well visited. I signed many books that were
sold on the spot and received many positive reactions both during and after the
event.

My for the time being last presentation is coming up soon, on 24 November, at
the Fondation Seydoux-Pathé in Paris. Here my presentation will be followed by
the projection of the film Cabiria (Giovanni Pastrone, 1914), one of the films
central to my book.



Posted in Uncategorized
Tags: Amsterdam, archaeology, book presentation, Cabiria, cinema, cinema and
painting, cinema italiano, early cinema, EYE, film, film and art, Italian
cinema, Italy, KNIR, Le giornate del cinema muto, Palazzo del Rettorato, Paris,
Pordenone, Quo vadis?, Royal Dutch Institute, silent film, Teatro Verdi, Turin,
university


UPCOMING LECTURE (29/9) AND FIRST BOOK PRESENTATION (12/10)

•September 3, 2023 • Leave a Comment

On Friday 29 September, I will give a – Dutch told – lecture at the platform on
Interiors entitled Interiors: Real or fake?, at the Rijksdienst voor het
Cultureel Erfgoed in Amersfoort, The Netherlands. Title of my paper: Het
Romeinse interieur in kunst en film: studie, illusie en hergebruik [the Roman
interior in art and film: study, illusion, and reuse]. More info.

On Thursday 12 October, I will give my first book presentation at the Giornate
del Cinema Muto in Pordenone, Italy. This refers to my new book Quo vadis?,
Cabiria, and the ‘Archaeologists’: Early Cinema’s Appropriation of Art and
Archaeology, which will appear with the Turinese publisher Kaplan, as part of
the series La favilla, la vampa, la cenere, edited by Silvio Alovisio and Luca
Mazzei. See the teaser trailer below. For more, on my research on Italian early
cinema & the arts, look here.



Posted in Uncategorized


RIP ALDO BERNARDINI (1935-2023)

•August 4, 2023 • Leave a Comment
Aldo Bernardini and Vittorio Martinelli in Sacile during the Giornate del Cinema
Muto. © Photo by Ivo Blom



Today, news reached me that Italian film historian Aldo Bernardini, born in
Vicenza in 1935, died yesterday at the high age of 88. He was the éminence grise
of Italian film history, in particular concerning silent film.

Already from his twenties Bernardini was a film critic, for which he received
the Premio Flaiano in 1983, publishing also monographs on Michelangelo
Antonioni, Ugo Tognazzi and Nino Manfredi. But he is best known as the
specialist in Italian silent film. In 1980-1982 he published the three-part
volume Cinema muto italiano, focusing on 1) exhibition & reception, 2) industry
& organization, and 3) art, stardom & market. After that, it was time for two
major reference work projects, the four-part Archivio del cinema italiano
(1991-1995), published by ANICA, and the 21-volume series on Italian silent
film, Il cinema muto italiano, published between 1991 and 1996 by La Nuova Eri &
Centro Sperimentale di Cinematografia. The latter publication was co-researched
and -written with Vittorio Martinelli. For this milestone of knowledge on
Italian cinema, which every scholar or archivist cannot do without when
researching Italian silent film, Bernardini focused on the earliest years,
shared the early 1910s with Martinelli, while Martinelli alone did the First
World War years and beyond. Aldo Bernardini and Vittorio Martinelli became a
highly productive tandem between the 1980s and the early 2000s, publishing also
on Francesca Bertini, Roberto Roberti, the company Titanus, Leda Gys, and Enrico
Guazzoni. In later solo reference works, edited by the Cineteca del Friuli,
Kaplan and the Cineteca di Bologna, Bernardini focused on Italian travelling
cinema, early non-fiction, early foreign productions shot in Italy, early film
enterprises, and protagonists, all in the Italian silent era. The list of
publications is endless, in particular if you count all the additional articles
and papers in edited volumes. The list of papers Bernardini gave at conferences
must be equally long, while he also collaborated on various film programmes and
festivals, such as the programme he curated with Jean A. Gili at the Centre
Pompidou in Paris in 1986, Le cinéma italien 1905-1945, de ‘La prise de Rome’ à
‘Rome ville ouverte’.

It was this retrospective and accompanying book that inspired Nelly Voorhuis and
me to organize in 1988 in the Netherlands a similar retrospective on Italian
cinema between 1905 and 1945, for which many films came from Italian archives
that had not been shown in the Netherlands anymore after their regular release
at the time. We also showed several rare, hitherto presumed lost Italian silent
films from the Desmet Collection at the Eye Filmmuseum, such as Sangue bleu and
Fior di male. Preparing this, we visited various Italian experts, including
Bernardini, who soon became “Aldo” to me. He wrote an excellent text to our
catalogue and was our guest speaker at the opening night, introducing Histoire
d’un Pierrot with Francesca Bertini. I well remember we had agreed I would
translate his words from Italian to English, but Aldo forgot and started
immediately in French, presuming every Dutchman would understand that as well.
Also, once Aldo started to talk, it was difficult to stop him – something I
witnessed at various other occasions as well. While for a Dutch audience,
unacquainted with Italian silent film, the Bertini film would have been better
replaced by a straightforward vamp film like Il Fuoco, everybody loved the
Italian farces. We had a merry night, though with an official touch by the
formal opening by the distinguished Italian ambassador. All of this happened at
the Amsterdam art house Cinema Desmet (once a regular cinema, run by a nephew of
Jean Desmet).

Over the years, Aldo and I remained in close contact for identifications both
during and after my time as archivist at Eye, then still called Netherlands
Filmmuseum. Even after I left the archive in 1994, I still helped him with e.g.
data or images on the Italian films within the Desmet Collection. Vice versa, he
helped me too. Email became gradually more normal, although Aldo sometimes
ironically sighed: “Why do you always pose me these difficult questions, and not
the easy ones?” Thanks to the reference works by Aldo and Vittorio, I could more
and more solve the easy ones myself; that’s why. Aldo himself discovered the
digital with great passion and started a digital archive of data on Italian
cinema, which by lack of funding could not be completed. Yet, the
Bernardini-Martinelli series Il cinema italiano is now completely online on the
site of the Associazione italiana per le ricerche di storia del cinema (Italian
association of film historians), of which he was chair for some years and
founder, director, and collaborator of its journal, Immagine. Note di Storia del
Cinema. In 1992 Aldo was one of the – well deserved – two winners of the Jean
Mitry Award at the Giornate del Cinema Muto in Pordenone, a festival of which he
was an assiduous visitor too.

We did not always agree. When at the 2000 Domitor conference in Udine I
delivered for the first time my paper on Jean-Léon Gérôme and Enrico Guazzoni’s
film Quo vadis?, which would become a much cited text and was the basis for one
of the four chapters of my upcoming book, I got praise all over from the
attending scholars and archivists, but not from him. Aldo being a great fan of
Guazzoni as innovative film director, looking forward by e.g. his treatment of
space and his analytical editing at scarce moments as in the arena scene, I had
dared instead to look backward, pointing at the 19th century pictorial citations
Guazzoni had inserted in his film. Yet, for me Guazzoni had done both, looking
forward and backward, the one not excluding the other. I wonder what Aldo would
have thought of my upcoming book. We won’t know, but we do have his enormous
legacy. And even if at times we discover small errors or gaps in the
Bernardini-Martinelli reference works, the bulk remains a milestone in film
history, for which we owe deep gratitude.





Posted in Uncategorized


MUSEUM OF DREAMS

•July 4, 2023 • Leave a Comment

I’d like to share the recent good news with my larger network. Related to my
upcoming book and in general my research on early Italian cinema and its ties
with visual culture, is my future involvement as Co-I in the British Arts and
Humanities Research Council funded research project Museum of Dreams: Silent
Antiquity Films in the British National Film Archive (October 2023-26),
submitted by Prof Maria Wyke (University College London), with myself (Arts &
Culture, VU) and Bryony Dixon (BFI) as Co-I, and in collaboration with various
European film archives. The project will establish a better understanding of
both the modern reception of classical antiquity and the transnational history
and cultural status of silent cinema. By focusing on the BFI holdings and
comparing them with those surviving in other archives such as Eye Filmmuseum
(Amsterdam), the project will situate the UK firmly within the global network
that produced, distributed, exhibited, consumed, and curated the classical
antiquity films of the early 20th century, and establish for those films an
important educational legacy in the 21st century. Just a few weeks ago we got
the green light for this project.



Posted in Uncategorized


THREE NEW PRESENTATIONS COMING UP

•April 14, 2023 • Leave a Comment

Monday 17 April I will give a paper (online, alas) on the iconographic sources
of the 1914 Italian silent epic film Cabiria (mainly, the appropriation of the
two French painters G.A. Rochegrosse and H.P. Motte), at the conference Cabiria
Heritage, at the University of Turin.

Friday 21 April, I will create the ‘slot’‘Her/Hair Affairs. Hair and Gestures in
Early Cinema’, at the workshop Dance, Acting, Movement and Gestural Patterns in
Silent Cinema (focused on women and organized in the framework of W.I.S.S.PE.R.
project), Eye Study Center, Amsterdam.

Thursday 11 May, I will give the paper ‘Une tradition artistique composite.
Tracer l’iconographie punique du film Cabiria (Giovanni Pastrone, 1914) dans
l’archéologie et les musées’, at the conference Cinéma et Archéologie, at the
Auditorium du Louvre in Paris.

Posted in Uncategorized


NEW PUBLICATIONS ON EARLY ITALIAN CINEMA AND ITS DIASPORA

•February 8, 2023 • Leave a Comment

I’d like to share with you that four new publications by me have been released
between Autumn 2022 and today. All deal with early Italian cinema or its
diaspora in Germany:

‘The Creation of an Italian Star in Diaspora: Luciano Albertini’s Early Career
in Germany (1921-1923)’, Immagine, 23, 2021 (released 2023), pp. 57-84. Part of
special issue Modelli di mascolinità e divismo nel cinema muto internazionale,
curated by Denis Lotti and Jacqueline Reich.

Luciano Albertini in Die Schlucht des Todes (The Ravine of Death, Luciano
Albertini, Albert-Francis Bertoni, Max Obal, 1923).



‘Italia Almirante e le arti: Relazioni pittoriche, scultoree e teatrali
in Femmina, La statua di carne e L’ombra‘, in: Alessandro Faccioli, Elena
Mosconi eds.,  Divine. Nuove prospettive sul cinema muto italiano (Milano:
Mimesis, 2022), pp. 89-106.

Italia Almirante Manzini in La statua di carne (Mario Almirante, 1921).

‘The Pictorial Turn: Intervisuality and Recycling in Fabiola (Enrico Guazzoni,
1918)’, in: Melinda Blos-Jáni et.al. eds, Intermedial Encounters: Studies in
Honour of Agnes Pethö/ Intermediális találkozások: Tanulmányok Pethő Ágnes
tiszteletére (Cluj-Napoca/Kolozsvár: Scientia Kiadó, 2022), pp. 125-136.

Elena Sangro as Fabiola and signora Poletti as Agnese in Fabiola (Enrico
Guazzoni, 1918)

‘Immagini spettacolari: Cabiria di Pastrone e le illustrazioni del pittore
francese Rochegrosse per Salammbô di Flaubert’, in: Céline Gailleurd ed., L’oro
di Atlantide. Il cinema muto italiano e le arti  (Torino: Kaplan, 2022), pp.
137-160. This is a reworked version of a French publication that appeared early
2022: ‘Images spectaculaires: Cabiria de Pastrone et les illustrations
de Salammbô de Flaubert par le peintre Rochegrosse’, in: Céline Gailleurd
ed., Le cinéma muet italien, à la croisée des arts (Paris: Les Presses du Réel,
2022), pp. 162-191.

Italia Almirante Manzini as Sophonisba in Cabiria (Giovanni Pastrone, 1914)



And that is not all: Autumn this year, my new monograph will appear: Quo vadis,
Cabiria and the ‘Archaeologists’: Early Italian Cinema’s Appropriation of Art
and Archaeology, published by Kaplan, Turin, within the series ‘La favilla, la
vampa, la cenere’, edited by Silvio Alovisio and Luca Mazzei.

Posted in Uncategorized


‘VISCONTI’ DOWNLOADED OVER 5000 TIMES

•January 1, 2023 • Leave a Comment

Since the open access upload of 30 August 2019, my book Reframing Luchino
Visconti: Film and Art (Sidestone Press, 2018) has been downloaded 5213 times
from this site, until 31 December 2022. If you haven’t downloaded it yet, feel
free to do so, see https://ivoblom.wordpress.com/research-visconti-visual-arts/.

Posted in Uncategorized


RIP VITO ANNICHIARICO (1934-2022)

•August 8, 2022 • Leave a Comment

On 6 August 2022, Vito Annichiarico died in Rome, age 88. He became famous as
the boy Marcello, the son of Anna Magnani’s Pina, in Roberto Rossellini’s film
Roma, città aperta/ Open City (1945).

closing shot from Roma, città aperta (R. Rossellini, 1945)

Born in 1934 in Grottaglie, he was selected for the role in Rossellini’s famous
neorealist film. In 2016, he won a special prize for this at the Nastri
d’Argento: ‘Shooting Roma Città Aperta,’ he said on that occasion, ‘was for me
like going from the stables to the stars, on the set the necessities were never
missing, I felt very comfortable, I was always walking around everywhere. Where
I lived, on the other hand, there was no well-being’. The famous scene of
Magnani’s death, ‘the most moving’, had ‘upset him. I thought Magnani was dying
for real and I was determined: I didn’t want to play in the film any more’.

After Rossellini’s masterpiece film, Annichiarico performed, again alongside
Magnani, in Abbasso la miseria! (1945) and in Abbasso la ricchezza! (1946).
Vittorio De Sica then wanted him for the role of Coretti in the film Cuore
(1948), based on the novel by Edmondo De Amicis, while in the same year
Annichiarico also acted in Domenico Gambino’s last film Un mese d’onestà. After
a revue performance again with Aldo Fabrizi and Magnani, he worked in the
theatre with Aroldo Tieri and Carlo Ninchi in L’uomo, la bestia e la virtù
(1949). In 1950 he played in Domani è troppo tardi / Tomorrow Is Too Late by
Léonide Moguy, starring Pier Angeli. By 1950 his acting career stopped he and he
started to work for a multinational until his retirement. In 2005 and 2011 he
took part in two documentaries revisiting the places and events of Roma città
aperta: I Figli di Roma Città Aperta, by Laura Muscardin, and Voi siete qui by
Francesco Mattera.

Source: ANSA <a href=”https://www.ansa.it/…/morto-vito-annichiarico-piccolo…”
rel=”noreferrer
nofollow”>http://www.ansa.it/…/cultura/2022/08/05/morto-vito-an…</a>. See also
<a href=”https://it.wikipedia.org/wiki/Vito_Annicchiarico” rel=”noreferrer
nofollow”>it.wikipedia.org/wiki/Vito_Annicchiarico</a>. Reproduction of original
still from the closing shot of <i>Roma, città aperta/ Open City</i> (Roberto
Rossellini, 1945). Collection Ivo Blom.

Posted in Uncategorized

« Previous Entries




PAGES

 * About
 * Education
 * Lectures
 * Publications
 * Publications: Jan de Vaal and the Desmet Collection [in Dutch]
 * Research: Early Italian Cinema, Visual Arts & Visual Culture
 * Research: Visconti & Visual Arts
 * Reviews & interviews
 * Tutored theses & internships


BLOGROLL

 * ESNA (European Society for Nineteenth Century Art)
 * European Cinema Audiences
 * European Film Star Postcards
 * Europeana
 * Intermedias Review
 * Jan-Christopher Horak's Archival Spaces blog
 * Luke McKernan
 * Observations on film art and Film Art, by Kristin Thompson and David Bordwell
 * Picturegoing, by Luke McKernan.
 * Silent London
 * Silent Valerio Page
 * Silents, Please!
 * Sven Lütticken
 * The Bioscope (archive)
 * VU Art & Culture blog
 * WordPress.com
 * WordPress.org


FILM ARCHIVES AND CINEMATHEQUES

 * AMIA (Association of Moving Image Archivists)
 * Beeld en Geluid/ Sound and Vision
 * BFI National Archive
 * Cinémathèque française
 * Cinematek, Brussels
 * Cineteca del Friuli, Gemona
 * Cineteca di Bologna
 * Cineteca Milano
 * Cineteca Nazionale, Rome
 * CNC Patrimoine (Les Archives Françaises du Film)
 * Danish Film Database (Dansk Filminstitut)
 * Eye Film Player (Eye Filmmuseum)
 * Eye Filmmuseum
 * Eye Filmmuseum, catalogue
 * FIAF (International Federation of Film Archives)
 * Gaumont-Pathé Archives (limited access)
 * Museo Nazionale del Cinema, Turin
 * Pathé, Filmography (Fondation Jérôme Seydoux-Pathé)


FILM FESTIVALS

 * Cinema Ritrovato
 * Giornate del Cinema Muto
 * IDFA (International Documentary Filmfestival Amsterdam)
 * IFFR (International Film Festival Rotterdam)
 * Kaboom Animation Festival (formerly Klik! and HAFF)
 * NFF (Netherlands Film Festival)
 * San Diego Italian Film Festival
 * San Francisco Silent Film Festival
 * Stummfilmtage, Bonn


LINKS

 * AAIS (American Association for Italian Studies)
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 * CAMS (MA Comparative Arts and Media Studies), VU University website
 * CLUE+
 * Domitor
 * EFG1914 (European Film Gateway)
 * Europeana Exhibitions
 * HoMER Network. History of Moviegoing, Exhibition and Reception
 * IMPAKT
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 * Ivo Blom on academia.edu
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 * Kaplan Edizioni
 * MKDA (BA Media, Art, Design, and Architectue) on Facebook
 * MKDA (BA Media, Arts, Design, and Architecture), VU University website
 * NECS
 * RMeS (Research School for Media Studies)
 * Sempre in penombra (Archivio del cinema muto)
 * Silent Cinema Cultures
 * TMG Journal for Media History (formerly Tijdschrift voor Mediageschiedenis)


RECENT POSTS

 * Book download Quo vadis?, Cabiria and the ‘Archaeologists’
 * Reviews of my book and a review of my condition
 * Upcoming book presentation and previous ones
 * Upcoming lecture (29/9) and first book presentation (12/10)
 * RIP Aldo Bernardini (1935-2023)


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