Dr Stefano Ciammaroni
BiographyI am a Film Studies scholar with many years of experience designing and delivering modules at both undergraduate and postgraduate level, in the UK as well as in the United States. I hold a BFA in Cinema Studies and Russian & Slavic Studies, an MA in Cinema Studies, and a PhD in Cinema Studies, all from New York University. In the UK, I am also a Fellow of the Higher Education Academy.
I am currently Senior Lecturer in Film Theory within the BA in Film Practice at the University of the Arts London (London College of Communication). I am also Lecturer in Film Studies in the Science Communication Unit of the Centre for Languages, Culture and Communication at Imperial College London, where I teach within the context of an MSc in Science Media Production.
After earning a PhD at New York University’s Cinema Studies Department in May 2011, I held a Senior Lectureship in Film, TV, and Cultural Studies in the Department of Interdisciplinary Studies at Manchester Metropolitan University (2011 - 2014).
Previously (2005-2010), I held adjunct positions at Columbia University and New York University, where I taught survey-style courses in film theory and history, as well as more specific courses on the relationship between film and politics in American and Italian film.
My field of teaching expertise includes the film practices of Western and Eastern Europe, the United States, Russia, and Latin America. I also have specialist knowledge of Film Theory (both classical and modern), with specific interest in the intersection between filmmaking practices and radical political theories. With extensive experience designing and leading specialised seminars as well as broad, survey-style classes, I am used to teaching a variety of film modes: classically narrated forms of mainstream film, art-house styles of narration, or radical experimental traditions. Lately, I have also been incorporating into my teaching the work of gallery artists who work with moving images and time-based media.
I have specific experience in teaching film history and theory to students enrolled in production-based degrees. Assigning the production of video essays in which students have to pair aesthetic and/or thematic choices found in their practical work with learning encounters occurred in theory or history modules, I help production students gain awareness of how their critical engagement with historical and theoretical modules informs and transforms their filmmaking work. These video essays, which are themselves exercises in theorising through practice, effectively train students to see their filmmaking work as final repository of their critical and contextual study.
My teaching methodology blends the tools of film and political theory, textual analysis, and cultural studies. My classes are hands-on and image-driven. They feature a mix of formal delivery, significant reliance on film clips and excerpts from recently produced audiovisual essays, and interactive discussion. Fostering effective class discussions is one of my principal aims.
Grants and awards
(Figures indicate amount awarded to UAL)
- Manchester Metropolitan University, Travel Grant, £500.00, (2014)
- New York University, Dissertation Award, $10,000.00
- Manchester Metropolitan University, Travel Grant, £500.00
- New York University, Travel Grant Award, $700.00
- Ciammaroni S. From Trilateral to Troika, and from the Five-Pointed Star to the Five Star Movement (2018)
- Ciammaroni S. The “No You Can’t” of Italian Neo-Marxist Dissent (2017)
- Ciammaroni S. One Take, Many (Hi)stories: Notes for an Appreciation of Ang Damgo ni Eleuteria (2013)
- Ciammaroni S. Archiwista narodzin i smierci: Jutrzenka i mise-en-mort w historiografiach wloskiego neorealizmu. (2009)
- Ciammaroni S. In Pompeii and Volterra the Earth Really Trembles: De-Territorialisation, European Art-Cinema, and the Fate of Neorealism in Roberto Rossellini's Journey to Italy and Luchino Visconti's Sandra (2007)
- Ciammaroni S. Obsession; The Stendhal Syndrome; The Best of Youth; Something in the Air (2014)
- Ciammaroni S. Giorni di gloria e la retorica della violenza nel cinema italiano del dopoguerra. (2012)
- Ciammaroni S. From Cinema to Film: The Representation of Reality and the Place of Political Engagement in the Film Theory of Pier Paolo Pasolini. (2008)
Conference, Symposium or Workshop item
- Ciammaroni S. Best Kept Secrets: Integrating Student Films in Film History and Theory Classes (2019)
- Ciammaroni S. In Too Deep (Red): Political Reality and the Specter of National Cinema in Dario Argento’s Profondo rosso. (2014)
- Ciammaroni S. Any Which Way They Could: How an Italian Cultural Left Made Clint Eastwood a Fellow Traveller. (2013)
- Ciammaroni S. A Cinema of Modernity: Roberto Rossellini’s Paisà (2012)
- Ciammaroni S. Forms and Culture of an Italian Cinema of Incivility (2012)
- Ciammaroni S. Stanley Kubrick’s The Shining and Gilles Deleuze’s Philosophy of Cinema (2011)
- Ciammaroni S. Italian Neorealism and the Mise-en-Mort as Historiographical Category (2008)
- Ciammaroni S. From Antifascism to Thirdworldism: Violence with a Vengeance in the Italian Political Western (2008)
- Ciammaroni S. Reality and Political Engagement in the Film Theory of Pier Paolo Pasolini. (2007)
- Ciammaroni S. Violence, History and Excess in Roma città aperta and Giorni di gloria. (2007)
- Ciammaroni S. The Italian Way of All Flesh: Violence and its Social Context from Westerns to Cannibal Cycles (2007)
- Ciammaroni S. The Fate of Neorealism in Rossellini’s Viaggio in Italia and Visconti’s Vaghe stelle dell’orsa. (2005)
- Ciammaroni S. Cinema Year Zero: Character, Time, and Image in The Shining. (2005)