Giorgio Biancorosso (NHC Fellow, 2024–25)

Fellowship Work Summary, 2024–25

Giorgio Biancorosso completed two chapters for edited volumes and one article related to his fellowship project, “Soft Technologies of the Virtual: Music and Temporal Perspective.” They are, in publication order:

• “Music—Edgeless Microcosm”, estetika. studi e ricerche, Il Mulino (Bologna), 1/2025
• “A Spurious Kind of Primitivism: Pasolini, Ancient Greece, and the Poetics of Synchronisation”, in Sound and Music in Global Modernism, edited by D. Grimley – S. Lee, Cambridge: Cambridge University Press (forthcoming, 2026)
• “Doomed to an Eternal Present? Callas’s Studio Recordings” in Maria Callas: Iterations, Mediations, and Mimesis, edited by G. Biancorosso (in progress)

The work laid a foundation for a monograph that critiques contemporary approaches to immersion in the arts.

While at the Center, Biancorosso also drafted an essay on the titles of the films of the Japanese filmmaker Ozu Yasujiro. The essay, “Opera, Off Stage: Visconti and Bertolucci between Reflection and Performance,” was accepted for publication in Remediating Opera: Crossings and Encounters between Film and Music Studies (forthcoming). His monograph Remixing Wong Kar-wai (Duke) and the edited collection Scoring Italian Cinema (Routledge), appeared in November 2024 and May 2025, respectively.