{"id":15959,"date":"2019-06-18T11:40:15","date_gmt":"2019-06-18T09:40:15","guid":{"rendered":"http:\/\/www.giornatedelcinemamuto.it\/?page_id=15959"},"modified":"2026-10-10T17:39:59","modified_gmt":"2026-10-10T15:39:59","slug":"collegium","status":"publish","type":"page","link":"https:\/\/www.giornatedelcinemamuto.it\/en\/collegium\/","title":{"rendered":"COLLEGIUM"},"content":{"rendered":"

[vc_row][vc_column width=”1\/4″][vc_single_image image=”26404″ img_size=”full” alignment=”center”][vc_single_image image=”24344″ img_size=”full” alignment=”center”][vc_single_image image=”24336″ img_size=”full” alignment=”center”][vc_single_image image=”15130″ img_size=”full” alignment=”center”][vc_single_image image=”24346″ img_size=”full” alignment=”center”][\/vc_column][vc_column width=”3\/4″][vc_column_text css=”.vc_custom_1791646796957{padding-right: 5% !important;padding-left: 5% !important;}”]<\/p>\n

<\/span>Now in its 28th year, the Collegium\u2019s aims continue to remain unchanged: to attract new, young generations to the discovery of silent cinema and to integrate these newcomers into the very special community that has evolved around the Giornate during its four decades. It is designed to take advantage of the unique conditions of the Giornate \u2013 a highly concentrated one-week event; the possibility to see an extensive collection of rare archival films; the presence in one place and at one time of many (perhaps most) of the world\u2019s best qualified experts in film history \u2013 scholars, historians, archivists, collectors, critics, academics, and just plain enthusiasts. Rejecting the conventional \u201csummer school\u201d style of a formal teaching programme, the Collegium insists on a fundamental, classical concept of study, in which the impetus is the students\u2019 curiosity and inquiry. Instead of formal lectures and panels, the daily sessions are designed as \u201cDialogues\u201d, in the Platonic sense, when the collegians meet with groups of experts in various disciplines. The Dialogues are designed not just to elicit information and instruction, but to allow the collegians to make direct personal and social connection with the Giornate habitu\u00e9s and to discover them as peers whom they can readily approach, in the course of the week, for supplementary discussion.
\nTo focus their inquiry, the members of the Collegium collaborate on the production of a collection of papers on themes emerging from or inspired by the experience of the week. Each collegian is required to contribute an essay, and the criterion is that the principal source must be the Giornate programme, or conversation and interviews with the scholars and experts to whom the week facilitates access. It has to be, in short, a work that could not have been produced without the Giornate experience. In order to support the collegians\u2019 contributions to the festival, the best paper will be published on the Giornate website and awarded the Russell Merritt Prize.<\/i><\/span><\/span><\/p>\n

Collegians 2026<\/strong>: Gry Abildgaard (DK), Clara Barra (BR), Joaqu\u00edn Catalano (AR), Olwen Collins (GB), Edoardo Faggi Grigioni (IT), Alisa Goruleva (RU), Guilherme Guedes (BR), Jiexi Hong (CN), Adeline Law (HK), Shivshankar Nediyan Venugopal (IN), Roberto Soares (BR), Tina (CA).
\n<\/span><\/p>\n

Winners
\n2026 Thaynara Brito “Haunting Presences and Image Restitution<\/span><\/a>”
\n2025 <\/strong>Yixuan Li “Nien S\u00f6n Ling and Beyond: Tracing Asian Presence in German Silent Cinema”<\/span><\/a>
\n2024 <\/strong>Luc\u00eda Ciruelos Rodr\u00edguez “The explanation of a metamorphosis: a reflection on two films that changed me during Le\u00a0Giornate del Cinema Muto”<\/span><\/a>
\n2023 <\/strong>Russell Zych: “Why Screen a Fragment?”<\/span><\/a>
\n2022 <\/strong>Sofie Cato Maas: \u201cA discontinuity given an illusory wholeness by the blessings of light\u201d: the luminous quality of the silent cinema.<\/span><\/a>
\nEx aequo 2021 <\/strong>Leticia Magala\u0303hes: It’s a mad mad mad world: mental health, slapstick and stardom in Carlo Campogalliani’s La Tempesta in un Cranio<\/span><\/a>
\nEx aequo 2021 <\/strong>Travis R. Merchant-Knudsen: The Intrusive, Necessary Labor of Archivists in the Face of Change<\/span><\/a>
\n2020 <\/strong>Matheus Carvalho: The canon reassessed, masculinity and gender transgressions at the Giornate 2019<\/span><\/a>
\n<\/strong>2019<\/strong> Stephan Ahrens:<\/span> Unheard music. Notes on silent music moments<\/a><\/span><\/span>
\n2018<\/strong> Sarah Rahman Niazi:<\/span> Le Giornate del Cinema Muto and the encounter with Indian silent cinema<\/a><\/span><\/span>
\n2017 <\/strong><\/span>Sebastian K\u00f6the: Silent Film as Ambiguous Heritage<\/a>
\n2016 <\/strong><\/span>Danielle Crepaldi Carvalho: Blessed Tears: the Human Soul Unveiled in Les Mis\u00e9rables by Henri Fescourt (1925-26)<\/a>
\n2015 <\/strong><\/span>Guilherme Maggi Savioli: The Outcasts, or notes on a revolution<\/a>
\n2014 <\/strong><\/span>Cesar de la Rosa Anaya: Aura Footprints of Early Cinema<\/a>
\n<\/a>2013 <\/strong><\/span>Thomas Clearly: The Accidental Artists: Art in Early Cinema
\n<\/a>2012 <\/strong><\/span>Tom Brockley: Preserving a ‘Way of Seeing’: Post-archival Film Preservation<\/a>
\n2011 <\/strong><\/span>Raphael Luce: Born by accident<\/a>
\n2010 <\/strong><\/span>Ioana Salagean: Le mythe et le retour<\/a>
\n2009 <\/strong><\/span>Polly Ellen Goodwin: How to Watch a Silent Film: The View from the Pit<\/a>
\n2008 <\/strong><\/span>Maria Belodubrovskaya: Understanding the Magic:Special Effects in Ladislas Starewitch\u2019s L\u2019Horloge magique<\/a><\/span><\/span><\/span><\/p>\n

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