History of Cinema Without Names is an editorial project which gathers research papers presented at Gorizia Conference, Italy. It promotes a new research perspective on the notions of film authorship, style, and genre, with the aim of re-articulating their theoretical definition.

1. Images of Automation and Automatic Images: from Animation to Virtual Environments Funny Animals, Hilarious Machines: Automation and Animation in Disney Shorts (1929-1937) Yasco Horsman Des jouets, des machines et des hommes : représenter le mouvement au XIXe siècle Marion Charroppin Les Aventures extraordinaires de Saturnin Farandoul. Le avventure straordinarissime di Saturnino Farandola – (1914) de Marcel « Fabre » [Fernández] Peréz & Luigi Maggi François Amy de la Bretèque Tableaux à la puissance trois : la mise en scène cinématographique du tableau vivant entre animation et pétrification de l’image Michele Bertolini Animation, Animated Cartoon and Liveliness: From Ėjzenštejn to Disney Marie Rebecchi On the Idea of „Machine Vision” Antonio Somaini Electronic Automation in Italy in the 1960s: Two Antithetic Perspectives Francesco Spampinato “Real Virtualities”: Real Time Animation and Immersivity Giancarlo Grossi Framing Video Game Agency: Down and Out in Los Santos and In-game Photography as Subversive Play Ivan Girina “Now You’re in the Sunken Place”: Agency in Reaction GIFs Berenike Jung Watching the Future: Gender, Automation and Reproduction Elisa Virgili 2. The Body-Machine Symbiosis: Screens, Automatons, Prosthetic Technologies San Junipero et le dèsir de la dématerialisation du corps (et de l’écran) Jacopo Bodini Bodies becoming Screens. How the Machines Experience the World Anna Caterina Dalmasso The Application of Animation and Automation in the Simulation of Life in a Biomedical Research Laboratory David Steinman, Dolores Steinman Visceral Operators: The Camera is the Massage Christina Lammer Street of Crocodiles: The Animated Body and the Fantasy of the Flesh Jessie Martin La Mariée, l’automate et l’iconographie anatomique (Marcel Duchamp dans La Rue des Crocodiles) Barbara Le Maître Danse avec le robot. Un moment de la rencontre entre le vivant et la machine Arnauld Pierre Thinking People and Machines Together: the Aaton Case Introduction: The BEAUVIATECH Program, Between Technologies and Aesthetics Gilles Mouëllic, Jean-Baptiste Massuet Camera Anthropomorphization or Bodies to Fit Cameras? Contradictory Aspects of the Purposes and Uses of Aaton Products Simon Daniellou Hand-Held Camera and Virtual Cinema Between Automaticity and Portability: Reinterpreting “la Paluche” in the Digital Animation Era Jean-Baptiste Massuet Cameras for Each or for All? Automatization and Adaptability in the Design of Technical Objects on the Basis of the Aaton Case Éric Thouvenel 3. Technological Vitalism: The Liveliness of Medias and Their (After)Lives in the Archives From “time-based media” to genuine media tempor(e)alities Wolfgang Ernst The Suspended Life of Films: The Archive as Resuscitation of the Past Trond Lundemo Google Photos and Personal Memory: Who Lives, Who Dies and Who Tells Your Story Daniel Bassan Petry The Ghost in the Machine – Reflections on Rapture (Arrebato, Iván Zulueta, 1979) Matt Carlsson Haunted Machines and the Fear of Mechanic Life Giuseppe Previtali Automation, Representation, and the Question concerning the Legibility of the Image/Machine Today Pepita Hesselberth, Janna Houwen, Esther Peeren, Ruby de Voos Archive Robots: On Bernard Stiegler’s Visions of Work and Futurity Jaka Lombar Crossing Boundaries in Digital Archives: Activating Audiovisual Heritage through Human-Machine Interaction Julia Noordegraaf Animating and Re-shaping Cinema’s Body Sara Tongiani The Humanistic Digital: Digital Restoration Tools and the Paradoxes of Uniqueness Sabrina Negri Algorithms for Film Digital Restoration: Unsupervised Approaches for Film Frames Enhancement Alice Plutino, Alessandro Rizzi