Giorgio BIANCOROSSO (PhD, Princeton) 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). He is the co-founder and editor of the journal SSS (Sound-Stage-Screen) and the co-editor of Scoring Italian Cinema: Patterns of Collaboration (2025). He is currently editing an anthology on Maria Callas tentatively called Maria Callas: Iterations, Mediations, and Metamorphoses. Biancorosso is the inaugural director of HKU’s Society of Fellows and is 2024-25 Luce East Asia Fellow in Musicology at the National Humanities Center, N.C. His staging of The Longest Days and the Shortest Days, a tech-cantata by Eugene Birman, was premiered at the Gulbenkian Auditorium (Lisbon) in September 2022 and will tour East Asia in 2026.
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2025Scoring Italian Cinema: Patterns of Collaboration, contributing editor, with R.Calabretto (Routledge).2024Remixing Wong Kar Wai: Musical Borrowing and the Aesthetics of Oblivion (Duke University Press).
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2025"A Spurious Primitivism: Pasolini, Ancient Greece, and the Poetics of Synchronisation," in Sound and Music in Global Modernism: a Critical History, ed. By D. Grimley – S. Lee (Cambridge: Cambridge University Press, forthcoming)
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2025"The Déjà Oublié Effect: Rota, 'Gelsomina' and Fellini's La strada", in Scoring Italian Cinema, edited by G. Biancorosso – R. Calabretto (Routledge)
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2024“The Composer as ‘Auteur’: Tan Dun, Hero and the Musical Appropriation of Wuxia,” in Music in Chinese Media, ed. R. Cheung - K. Donnelly (Edimburgh University Press, forthcoming).
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2014"The Big Screen and Verdi's Stage", in Verdi on Screen, ed. Delphine Vincent (Lausanne: L'age de l'homme, 2014.), 187-206.
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2013"A Global Vernacular? Musing on European Art Music in Hong Kong." Musica Docta 3.
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2010"The Shark in the Music." Music Analysis 29 (1-3): 306-333.
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2009"The Harpist in the Closet: Film Music as Epistemological Joke." Music and the Moving Image 2 (3): 11-33.
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2007"Romance, Insularity, and Representation: Wong Kar-wai's In the Mood for Love and Hong Kong Cinema." Shima: The International Journal of Research into Island Cultures 1 (1): 88-95.
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2001"Beginning Credits and Beyond: Music and the Cinematic Imagination." Echo: A Music-Centered Journal 3 (1).
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2007Review of Changing Tunes: The Use of Pre-existing Music in Film, edited by Phil Powrie and Robynn Stilwell. Current Musicology 83: 167-173.
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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.
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2023Visiting International Scholar, Kyoto University (Autumn Semester)
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2017Awarded Research Output Prize, Faculty of Art, HKU
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2010Awarded Outstanding Young Researcher Award 2008/09, HKU2001-2004Mellon Fellow, Society of Fellows in the Humanities, Columbia University (New York)
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(on sabbatical)