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Open call for Walking as a question – International Walking Encounters / Conference – July 4th to July 11th 2021, Prespa, Greece

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Walking as a question

International Walking Encounters/Conference
Sunday July 4th to Sunday July 11th 2021, Prespa, Greece

What questions does walking pose? What questions can walking be used to explore? Who walks? Who chooses to walk? Who is forced to walk? Who can walk? Who cannot?

Open call for participation in Prespa or on distance
Open call for hubs, individuals and collectives
with papers, audio papers, walkshops or other creative proposals. All media and formats are welcomed.
Organized by Visual March to Prespa – Department of Fine and Applied Arts, School of Fine Arts, University of Western Macedonia, Greece
Made of Walking (VIII) / the Milena principle

Full open call (ENG-GR)

APA style reference

Vermeire, G. (2021). Open call for Walking as a question – International Walking Encounters / Conference – July 4th to July 11th 2021, Prespa, Greece. walk · listen · create. https://walklistencreate.org/open-call/open-call-for-walking-as-a-question-international-walking-encounters-conference-july-4th-to-july-11th-2021-prespa-greece/
Prespes, Greece Prespes, Greece
Prespes, Greece

International Walking Encounters

Collection · 12 items
Sub-collection

Made of walking

Sub-collection · 15 items

Regions

Greece

Country · 8 sub-regions · 124 items

pedinamento

A highly influential ideologue of neorealism, scriptwriter and director Cesare Zavattini suggested “pedinare,” the Italian word for stalking or shadowing, as a technique for filmmaking. Pedinare in cinema entailed “tailing someone like a detective, not determining what the character does but seeking to find out what is about to ensue.” The etymology of the word in Italian suggests “legwork” as it is derived from the Italian word for foot, “piede.” It is possible to suggest that the proliferation of images of walking in Italian Neorealism is closely linked to the technique of pedinamento, not because all neorealist filmmakers were followers of Zavattini, but because going out onto the street to encounter the everyday life of post-war Italian cities and creating cinematic tools to articulate these encounters were major concerns for the filmmakers of that era.

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