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Kriss Ravetto-Biagioli

Education

  • Ph.D., Comparative Literature / Film Studies, UCLA, 1997
  • M.A., Comparative Literature, UCLA, 1992
  • B.S., Political Science / History, UCLA, 1988

About

Kriss Ravetto-Biagioli is a film and media scholar whose work focuses on representations and theorizations of violence in film, media, and social media. She has worked on the question of nation building, ethnocentrism and sexual violence in the Balkans and Eastern Europe; Nazism, Fascism, and the Holocaust; surveillance and social media; digital art, experimental cinema, and the uncanny; and the emergence of new forms of politics through social media.

 

She is the author of The Unmaking of Fascist Aesthetics (Minneapolis, University of Minnesota Press, 2001), ISBN: 13:  978-0-8166-3743-0, and Mythopoetic Cinema: Cinema on the Margins of Europe (Columbia University Press, 2017). She is currently working on two new book projects: Digital Uncanny an examination of how digital technologies, particularly software systems working through massive amounts of data, are transforming the meaning of the uncanny which Freud tied to a return of repressed memories, desires, and experiences to  their anticipation; and Alt[ctrl]: Entanglements of Surveillance and Democracy with Anupam Chander.

Selected Publications

  • “Martyrs for the Mass,” an essay-film made with Kevin Lee for a special issue of [In]Transition: Journal of Videographic Film & Moving Image Studies on Indefinite Visions, forthcoming Winter 2017.
  • “Defacing the Close-up,” for James Benning Environments, Nikolaj Lubecker and Daniele Rugo, eds., Edinburgh UP, forthcoming Summer 2017.
  • “Parasite Cinema,” with Martine Beugnet for Image and Narrative, special issue on Art and and Cruelty, 17.5, forthcoming Summer 2017.
  • “The Digital Uncanny and Ghost Effects,” appeared in Screen, Spring 2016 Volume 57 Issue 1, pp. 1-20.

The Digital Uncanny and Ghost Effects

  • “Noli Me Tangere: Godard’s Histoire(s) du cinéma and the Image of the Holocaust” for

Wiley Companion to Godard, Tom Conley and Thomas Kline, eds., 2014, pp. 456-487.

Theory by other means: Pasolini's cinema of the unthought

Representations 111, no. 3, 2010, pp. 121-143.

 

She has published articles on film, performance, installation art, new  media, and the hacker group Anonymous in Camera Obscura, Film Quarterly, LEA, PAJ, Representations, Screen, The International  Social Science Journal, Third Text and numerous collected volumes.

She is the co-editor with Professor Martine Begneut of the Edinburgh University Press series in Film and Intermediality

Her interest in the “digital uncanny” and the culture of surveillance has inspired Recoded, the large international conference on the politics and landscapes of new media, and Figures of the Visceral and  Gaming the Game

She co-organized the Mellon initiative in Digital Culture with Professor Colin Milburn (English and STS), and the Mellon Sawyer Seminar on Surveillance and Democracy with Anupam Chander. 

She is a core researcher on the IMMERSe and IFHA projects.

She is also affiliated with the graduate programs in Cultural Studies, Performance Studies, Critical Theory and French and Italian Studies.

Teaching

Using tools from critical theory, media, art, and technoculture, my classes directly engage political discourse and theories about gender, law, and globalization.

STS 151: MEDIA THEORY (5)

Lecture—2 hours; discussion—1 hour; film viewing—3 hours; extensive writing. Critical and theoretical approaches to the emergence of new technologies since the invention of photography. Examine various approaches to media (formalist, semiotic, structuralist, Frankfurt School, cybernetics, visual and gamer theory). (Same course as Film and Media Studies 150.) GE credit: AH or SS, OL, VL, WE.

STS 160. Ghosts of the Machine: How Technology Rewires our Senses (4)

Lecture—3 hours; extensive writing or discussion—1 hour. Historical, aesthetic and critical approaches to how information technologies produced ghost effects or a sense of terror in response to new media like the photograph, gramophone, film, typewriter, computer, Turing Machine. Focus on technological media transforms sense perception. Offered in alternate years. (Same course as Technocultural Studies 160.) GE credit: ArtHum or SocSci | ACGH, AH or SS, VL, WE.—Ravetto-Biagioli

162. Surveillance Technologies and Social Media (4)

Lecture—3 hours; film viewing—3 hours; term paper. Prerequisite: Technocultural Studies 1 or course 20. Study of the ubiquitous presence of CCTV, face recognition software, global tracking systems, biosensors, and data mining practices that have made surveillance part of our daily life. Exploration of the boundary between security and control, information and spying. (Same course as Cinema & Technocultural Studies 162.) Offered in alternate years. GE credit: ACGH, AH or SS, OL, VL, WE.—Ravetto

Awards

2016-2017.  Faculty Research Fellowship, Davis Humanities Institute, UC Davis (one-quarter sabbatical leave).

2015-2016.  Mellon-Sawyer Seminar on “Surveillance Democracies?” (PI) (grant to develop a research cluster and lecture series on Surveillance Studies).

2013-2016.  Senior researcher in the “Interdisciplinary Frontiers in the Humanities and the Arts,” a 3-year grant to establish a media lab for digital humanities research at UC Davis.

2013-2014.  Davis Humanities Institute Research Cluster funds, “The Art of Appropriation.”

2012-2016. Co-PI for Mellon Research Initiative Grant in the Humanities for Digital Culture (A 3-year grant to develop a research cluster in digital culture).

2012-2018.  Senior researcher in the IMMERSE network project (The Research Network for Video Game, and Immersion), funded by The Social Science and Humanities Research

Council of Canada, six-year grant. (The IMMERSE network includes UC Davis, York U, Concordia U, Carleton U, U of Ottawa, Ryerson U, Waterloo U, Ontario).

2011-2012. University of California, Humanities Institute Conference Grant, for “Gaming the Game”.

2011-2012. Davis Humanities Institute Seminar Grant (Organizer and Convener of the seminar on Surveillance and the Social Network)