⨘ About Me

Strongly influenced by studies on photography in Bergmanian cinema, she accentuated her interest in portrait, sharing Nadar’s concept of “intimate similarity”. It deepens the research on metaphysical photography, poetic already enunciated in 2001 and integral part of the degree thesis.

After a course of classical studies, she graduated in Characters of European Cinema at University “Alma Mater Studiorum” of Bologna where she periodically held lectures of Analysis of Photography in Cinema, at the Department of Analysis of Film Prof. Guerrini Loretta Verga.

Among the lectures:


  • The use of the photographic code in cinema
  • The use of the photographic code in the cinema of Pier Paolo Pasolini
  • The use of the photographic code in the cinema of Carl Theodor Dreyer
  • The use of the photographic code in the cinema of Ingmar Bergman
  • Molander, Segerberg and carl Theodor Dreyer: the photographic code in the three film versions based on Kaj Munk’s drama

She specialized in Scandinavian Cinema, particulary on the work of Sven Nykvist, Ingmar Bergman and Carl Theodor Dreyer, writing her thesis degree on the photography of Sven Nykvist titled ” The interiority of light”: a path of analysis through the main films he photographed: The Seventh Seal (Ingmar Bergman, 1957), The Magic Flute (Ingmar Bergman 1975), The Virgin Spring (Ingmar Bergman 1960), Winter Light (Ingmar Bergman 1963), Persona (Ingmar Bergman 1966), Cries and Whispers (Ingmar Bergman 1972), Autumn Sonata (Ingmar Bergman 1978), Fanny and Alexander (Ingmar Bergman 1982), The Sacrifice (Andrei Tarkovsky 1986), Kristin Lavransdatter (Liv Ullmann 1995).

In 2009 she published a note on the book “From Munk to Dreyer” preface by Jean Semolue, Vecchiarelli, 2009.

In 2012 she participates as an expert, speaking about the relationship between “photography and teaching” to the board of the international project “Filmagogia” (Film Pedagogy) in collaboration with Alain Bergala (Sorbonne Nouvelle Paris III), with the Department of Visual and Performing Arts, University of Media Bologna and with the Faculty of Education at the University of Urbino.

In 2013 she offers her professional collaboration (on the occasion of the “Nordic Film Fest” 7-14 April 2013 event promoted by the Embassies of Sweden, Denmark and Finland in Rome) for a study on the use of photographic codes on the three versions of “Ordet” by K. Munk for the cinema and television (Dreyer, Molander, Segerberg). This study has been published in the following volumes: 1 ° The “Word” On the Big Screen: Ordet from Molander to Dreyer’s genius. Ed. Offscreeen. Montreal ISBN: 978-0-9917405-0-5
2nd The Last ‘Word’ on Television. Ordet: From the Master’s to Television’s Adaptation.Ed. Offscrren, Montreal. ISBN: 978-0-9917405-1-2 “

In 2015 she participates on the anthology  “Filmagogia, nuovi orizzonti di saperi” (UTET Università, 2015) writing an essay on the photographic code in cinema.