Federica Muzzarelli eBooks

The photobooth and the automatic photographic portrait from criminal and pschychiatric certification to imaginary escape. E-book. Formato PDF Federica Muzzarelli   -  Bruno Mondadori, 2016  - 

The “Cultures, Fashion and Society’s Notebooks” focus on the fashion system and lifestyle dynamics as privileged analysis tools of contemporary trends and transformations by looking not only at the virtuous interconnections between social-liberal art disciplines, but also by directing great and ever increasing interest in the contact zones with the cultures of planning and design, computer science, technological applications.

Photography and Media Celebrity: Dandyism/Neodandyism and Dress Code. E-book. Formato PDF Federica Muzzarelli   -  Bruno Mondadori, 2021  - 

This paper analyses the topic of media celebrity in relationship with the contemporary communication system and its photographic origin. In particular, the paper compares some important protagonists of dandyism and neodandyism: Charles Baudelaire, as the first total black dandy, Marcello Mastroianni as the Made-in-Italy dandy in La Dolce vita, and Jep Gambardella as the post-modern version of the neodandy in The Great Beauty.

Clementina Hawarden and Claude Cahun. Photography and the Political Body of Women. E-book. Formato PDF Federica Muzzarelli   -  Bruno Mondadori, 2019  - 

This paper analyses the work of two women photographers, Claude Cahun and Clementina Hawarden, as the two most original and intense figures that represent the relationship between women and photography from its 19th-century invention to the Second World War. That said, and beyond their having been women with artistic ambitions and photographers without the success they deserved in life, their way of using photography has evident consonances and very interesting theoretical correspondences. For both, photography is something very different from a tool suitable for creating beautiful imagesthat were correct and precise from a visual and compositional point of view. For both photography is a tool for establishing a policy on women’s bodies. For Clementina Hawarden it meant attributing to photography the power to satisfy – through the bodies of her daughters – her anxiousness for freedom, transgression and erotic experience beyond the conformity and restrictions of Victorian morality. For Claude Cahun, on the other hand, photography was a means to use her own body to constantly verify her rejection of a fixed, eternal gender identity.