Anna Franceschini

IULM University, Film, art and media, PhD

Università degli Studi di Milano - State University of Milan (Italy), Dipartimento di Filosofia "Piero Martinetti", Art Based Researcher - AN ICON ERC Advanced Grant An-Iconology: History, Theory, and Practices of Environmental Images

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Anna Franceschini is a PhD in Visual and Media Studies (Università IULM, Milan). Her doctoral dissertation focuses on the intersection between the modes of displaying works of art, moving images and commodities and, at the same time, explores film as an exhibition design strategy. Her fields of research are media archaeology, exhibition design and media environments. She is a filmmaker and visual artist and her work has been exhibited in international institutions and festivals.
Supervisors: Luisella Farinotti and Emanuele Coccia

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Papers by Anna Franceschini

Disciplined Clothes and Educated Gestures: On Dressing and Walking as a Manifesto of Emergency Between Science Fiction and Reality

Dune. Writings on Fashion, Design and Visual Culture, Vol. 001 n. 002, 2020

In light of the impact of the pandemic on the ways of social living, the fallout on COVID-19 dres... more In light of the impact of the pandemic on the ways of social living, the fallout on COVID-19 dress codes and the discipline of movement imposed by social distancing, the text investi- gates the embodiment of 20th-century biotechnical thought – of which Frederick Kiesler’s correalism is one of the expressions – through the analysis of a garment, the “stillsuit,” and a choreography of gesture of fictional origin. The latter are manifestos of the discipline the natives of Dune impose on themselves in order to achieve a harmonious coexistence with the planetary ecosystem in the eponymous novel by Frank Herbert.

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Endless Visions, Virtual Desires, and Broadcasted Emotions.Frederick Kiesler’s Architectures of Immersion

Cinéma & Cie, 2023

The article aims to investigate the salient features of Frederick Kiesler œuvre – th... more The article aims to investigate the salient features of Frederick Kiesler œuvre – the theatrical mise-en-scene as a multimedia display, the dramatization of the space of consumption and the space of the art exhibition for immersive purposes, cinema understood as a totalizing and spiritual experience, and the intuition of a virtualized, individual and domestic experience of the artwork – through the analysis of a selection of his projects, in light of the most recent categories proposed for the investigation of immersivity. The purpose of this study is to place Kiesler’s work in a media-archaeological perspective that takes into account the constant and fruitful asynchrony with the media present in which his work is historically situated

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