Professor Giorgio BIANCOROSSO
Professor Giorgio BIANCOROSSO
Director, Society of Fellows in the Humanities
Postgraduate coordinator (second semester), CHIEF Examiner (second Semester)
E           k Room 11.20, 11/F Run Run Shaw Tower

Giorgio BIANCOROSSO is the author of Situated Listening: The Sound of Absorption in Classical Cinema (Oxford University Press, 2016) and the co-founder and editor of the journal SSS (Sound Stage Screen). He is currently completing for Duke University Press a monograph on musical borrowing in Wong Kar Wai’s cinema. His work on the history and theory of listening practices reflects a long-standing interest in musical aesthetics, film music, and the history of global cinema. Biancorosso studied music history and film studies at the University of Rome and King's College,London, before moving to Princeton University, where he obtained a Ph.D. in musicology in 2001. Aside from film music, film criticism, and musical aesthetics, his interests include musical dramaturgy and the psychology of music. Biancorosso is also active as a programmer and dramaturg. His staging of The Longest Days and the Shortest Days, a tech-cantata by Eugene Birman, was premiered at the Gulbenkian Auditorium (Lisbon) last September.

Selected Publications
  • 2017
    "From Steel to Silk: The Music for Wong Kar Wai's Ashes of Time (Redux)." In World Studies, ed. by Shi Shu Mei and Stephen Chu. Durham: Duke University Press (forthcoming).
  • 2016
    "Traccia, memoria, e riscrittura: le registrazioni." In Maria Callas, ed. by Luca Aversano and Jacopo Pellegrini. Macerata: Quodlibet (forthcoming) [In Italian].
  • 2016
    "The Value of Re-Exports: Wong Kar-wai's Use of Pre-existing Soundtracks." In A Companion to Wong Kar-wai, ed. by M. Nochimson, 182-204. London: Wiley Blackwell.
  • 2015
    "Double Agents and the Poor Man's Orchestra: Music and Place in Chunking Express." In The Blackwell Companion to Hong Kong Cinema, ed. by Marchetti, Cheung, and Yao, 440-461. London: Blackwell.
  • 2014
    "The Big Screen and Verdi's Stage", in Verdi on Screen, ed. Delphine Vincent (Lausanne: L'age de l'homme, 2014.), 187-206.
  • 2013
    "Songs of Delusion: Popular Music and the Aesthetics of the Self in Wong Kar-Wai's Cinema." In Popular Music and the New Auteur: Visionary Filmmakers after MTV, ed. by Arved Ashby, 109-125. New York: Oxford University Press.
  • 2013
    "Memory and the 'Leitmotif' in Cinema." In Representation in Western Music, ed. by Joshua Walden, 203-223. Cambridge: Cambridge University Press.
  • 2010
    "Global Music/Local Cinema: Two Wong Kar-wai Pop Compilations." In Hong Kong Culture: Word and Image, ed. by Kam Louie, 229-245. Hong Kong: Hong Kong University Press.
  • 2010
    "Ludwig's Wagner and Visconti's Ludwig." In Wagner and Cinema, ed. by J. Joe and S. Gilman, 333-357. Bloomington: Indiana University Press.
  • 2009
    "Sound." In The Routledge Companion to Film and Philosophy, ed. by P. Livingston and C. Plantinga, 260-267. New York: Routledge.
  • 2007
    "Melodrama, Anti-Melodrama and Performance: Rereading Le Mépris." In Il melodramma, ed. by E. Dagrada, 263-284. Rome: Bulzoni.
  • 2004
    "Film, Music, and the Redemption of the Mundane." In Bad Music, ed. by C. Washburne and M. Derno. 190-211. London: Routledge.
  • 2008
    "Whose Phenomenology of Music? David Huron's Theory of Expectation." Review of Sweet Anticipation: Music and the Psychology of Expectation, by David Huron. Music & Letters 89 (3): 396-404.
  • 2007
    Review of Changing Tunes: The Use of Pre-existing Music in Film, edited by Phil Powrie and Robynn Stilwell. Current Musicology 83: 167-173.
  • 2004
    "Micromanaging Tradition." Review of "Seeing Double: Emulation in Theory and Practice," a multi-media exhibition at the Guggenheim Museum, New York. Future Anterior: Journal of Historic Preservation History, Theory, and Criticism 1 (2): 75-83.
Achievement Highlights
Courses Offered 2023/24