Giorgio Biancorosso (NHC Fellow, 2024–25)

Giorgio Biancorosso’s work investigates the boundaries of music and sound in the theater, cinema and digital media. He is the author of Situated Listening: The Sound of Absorption in Classical Cinema (Oxford University Press, 2016) and Remixing Wong Kar Wai: Music, Bricolage, and the Aesthetics of Oblivion (Duke University Press, 2024). Biancorosso is the co-founder and editor of the journal SSS (Sound-Stage-Screen) and the coeditor, with Roberto Calabretto, of Scoring Italian Cinema: Patterns of Collaboration (Routledge, forthcoming). Currently a professor of music at The University of Hong Kong, Biancorosso is also active as a dramaturg and stage director. His staging of The Longest Days and the Shortest Days, a tech-cantata by Eugene Birman, was premiered at the Gulbenkian Auditorium (Lisbon) in 2022.

Selected Publications

• Biancorosso, Giorgio. Remixing Wong Kar-wai: Music, Bricolage, and the Aesthetics of Oblivion. Durham, NC: Duke University Press, 2024.
• Biancorosso, Giorgio. “The Phantom of the Opera and the Performance of Cinema.” The Opera Quarterly 34, no. 2–3 (Spring–Summer 2018): 153–167.
• Biancorosso, Giorgio. Situated Listening: The Sound of Absorption in Classical Cinema. New York: Oxford University Press, 2016.
• Biancorosso, Giorgio. “The Harpist in the Closet: Film Music as Epistemological Joke.” Music and the Moving Image 2, no. 3 (2009): 11–33.