1,721,036 research outputs found
Distopie contemporanee: Bandersnatch come evento seriale
No full textThe article investigates new forms of dystopic narration in relation to the emerging phenomenon of TV series and broader culture of media consumption. The spectacle of contemporary fragility is at the same time pre-mediated by hyperdiegetic narrations reproduced by the daily consumption of these media products. Zombies, vampires, lycanthropes, and all the kinds of monsters that used to inhabit the post-apocalyptic imagery have been introjected by human and post-human characters, struggling against both their interior consciousness and their technological and media prosthesis. In so doing, narratives of a dystopic future build a link with our post-media present, pointing to a wider cultural/epistemological issue. Reflexively, the same dystopic universe expands its limits by locating within its narrative and media structure the subjective and social experience of the audience. In this respect, the anthological series Black Mirror is emblematic in both representing and reproducing a diegetic and medial collapse between dystopic fiction and reality. In particular, the episode “Bandersnatch” actualizes this narrative and its temporalities in terms of interactivity as a mode of consumption. The spectator-user rather than being actually engaged in the narrative construction of the episode, is further integrated in the serial reproduction of the text itself, and of the dystopic media ecosystem in which both the episode and the audience’s experience occur
Immaginari premediati. Futuro e consumo del presente nelle narrazioni seriali
Full text linkThe aim of this article is to investigate the ways in which some recent serial narratives - centred on the imagination of a future world - reflect and reproduce the fragility of our present. The future is not only made present as a chronotope within which a change is inscribed, but also as a central and hegemonic value of the cultural forms and mythologies that everyday we consume and reproduce. This dialectic between present and future is rendered possible by the semiotic mechanism of premediation, that is the trend of contemporary media to anticipate what will happen through the narrative development of all its possible landscape and outcomes. Following a theoretical discussion of the main categories of analysis, the article will focus on a limited but telling corpus of texts whose dynamics is further developed by their serial mechanisms, able to multiply their temporal layering and fragmentation: Love Death + Robots (Blur e Netflix 2018), Bandersnatch (Netflix 2018), and The Man in the High Castle (Amazon 2015-2019). In these series, both fears and expectations for the future are rendered present both in the representation of contemporary technologies as the agents of our destinies, and in our mediated consumption of such representation
Finire in vendetta: Hunters e la naziexploitation
No full textIl saggio analizza Hunters, una serie prodotta da Jordan Peele, regista e attore di colore noto per i suoi remake di film horror, scritta da David Weil, showrunner esordiente e nipote di sopravvissuti all’Olocausto, la cui prima stagione di dieci episodi è stata distribuita sulla piattaforma streaming Amazon Prime il 21 febbraio 2020. Ambientata prevalentemente a New York nel 1977, segue le vicende di un gruppo di ebrei, di diversa generazione, provenienza ed estrazione, che diventano cacciatori di nazisti. La serie è stata scelta per diverse ragioni, che intrecciano e rilanciano alcune delle riflessioni sottese al volume in cui questo articolo è inserito. Si tratta di una serie che mescola in modo peculiare non solo la rappresentazione di uno sterminio che non finisce - l’origine stessa della trama la soluzione finale - bensì il modo in cui la fine, come tema e insieme di figure, si regge sulle temporalità – e l’aspettualità – del racconto seriale contemporaneo. Questi due livelli si vengono a coniugare in una narrazione mossa da una caccia motivata dalla vendetta, nell’articolazione di passioni, posizioni attanziali e ruoli tematici costantemente ribaltati, che ulteriormente specificano il modo in cui Hunters racconta la ‘fine’
Arte e memoria. Il Parque de la Memoria y de los derechos humanos di Buenos Aires
Full text linkThe essay explores the relationship between art – visual arts, installation, sculptures, videos - and traumatic collective memories by analysing a peculiar site of memory: the Parque de la Memoria y de los Derechos Humanos in Buenos Aires, Argentina. After a short introduction aimed at clarifying some of the ways in which a work of art can be called upon to transmit, recount, expose, reflect or work through a traumatic past such as that of the Argentinian state terrorism and the “guerra sucia”, we discuss the space of the Parque along the Rio de la Plata, that includes a monument for the desaparecidos, an actual park with sculptures and installations, a space for temporary exhibitions and an archive. In particular, we devote the second part of the essay to Alfredo Jaar’s 2015 temporary exhibition “El punto ciego de la historia”, in which the Chilean artist dialogue with Argentinian’s past and his own works on the Chilean dictatorship
“The ‘Fallen’ of Nassiriya: a National Ritual of Mourning”
No full textIl saggio descrive la strategia informativa del Tg1 e del Tg5 in occasione della diretta televisiva dei funerali delle vittime dell'attentato di Nassirya del 200
G8: Real lives or Virtual Communities
No full textThe meeting of G8 in Genoa 2001 has represented, and continuous to represent, a very negative event for the Italian society. In July 2001 Genoa changed a lot: the space of the city became similar to a space of war. Genova was the theatre of violent scenes and cruel acts, the most important of which was the killing of Carlo Giuliani, a boy of 22 years old.
The versions about this event are now still different. The Internet and some spaces of virtual communities have been very important to promote some images and some discourses in alternative to the versions of institutional mass media. In this analysis I consider a no global e-group (electronic group). The discourses and the messages of this group of people give the possibility to “read” the event from a very different point of view. The discussion is about the role of institutional mass media (give they real information?) and about the role that have new forms of media (media activism)
A Journey to the End of the Night : Abjection, Violence, Women
No full textAs feminist and gender studies have demonstrated, sexual difference is one of the most important axes of normative social reproduction which is often aggresively reasserted in a conflict situation. By interrogating the relationship between women, war and violence, the essay meditates on the concept of abjection, on the abject images of women, torture and violence such as those emerged from the Iraqi prison of Abu Ghraib. How are violent women represented? And why do they create such a problem? Some answers to these question are thus discussed both by looking at the feminist debated and by analysing media represenations of violent women
The South African Truth and Reconciliation Commission Experience. Establishing a New Hypothesis of Post-Conflict Culture
No full text
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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