1,721,050 research outputs found
Concept TV: an aesthetics of television series/ Luca Bandirali and Enrico Terrone.
No full textIncludes bibliographical references and index."What is a television series? A widespread answer takes it to be a totality of episodes and seasons. Luca Bandirali and Enrico Terrone argue against this characterization. In Concept TV: An Aesthetics of Television Series, they contend that television series are concepts that manifest themselves through episodes and seasons, just as works of conceptual art can manifest themselves through installations or performances. In this sense, a television series is a conceptual narrative, a principle of construction of similar narratives. While the film viewer directly appreciates a narrative made of images and sounds, the TV viewer relies on images and sounds to grasp the conceptual narrative that they express. Here lies the key difference between television and film. Reflecting on this difference paves the way for an aesthetics of television series that makes room for their alleged prolixity, their tendency to repetition, and their lack of narrative closure. Bandirali and Terrone shed light on the specific ways in which television series are evaluated, arguing that some apparent flaws of them are, indeed, aesthetic merits when considered from a conceptual perspective. Hence, to maximize the aesthetic value of television series, one should not assess them in the same framework in which films are assessed but rather in this new conceptual framework"--The problem: supersize narratives -- The solution: conceptual narratives -- The upshot: engaging with conceptual narratives.1 online resource (x, 123 pages)
Talk about pop muzik : discussion of Enrico Terrone, ‘Listening to other minds: a phenomenology of pop songs’, Bja 60 (2020), 435–453
Get PDFIn ‘Listening to Other Minds’, Enrico Terrone provides an account of the mental activity in which we ought to engage to appreciate pop music. He argues that we should ‘play a game of make-believe’ (p. 452) in which we imagine that we can ‘hear … the mind’ of a fictional character (pp. 452, 440). We should use this ability to grasp the thoughts and feelings that the mind contains, and thus undertake ‘exploration’ of the character’s ‘inner life’ (p. 445). This article argues, first, that only a simplified version of the account is plausible; second, that its plausibility as a general account of pop music depends on a dubious conception of the ‘paradigm cases’ (p. 449); third, that its desirability as an account of a narrower range of cases is questionable; and, fourth, that it is motivated by unsuitable assumptions about representation in pop.Peer reviewe
Talk about Pop Muzik : Discussion of Enrico Terrone, ‘Listening to Other Minds: A Phenomenology of Pop Songs’, BJA 60 (2020), 435–453
No full textIn ‘Listening to Other Minds’, Enrico Terrone provides an account of the mental activity in which we ought to engage to appreciate pop music. He argues that we should ‘play a game of make-believe’ (p. 452) in which we imagine that we can ‘hear … the mind’ of a fictional character (pp. 452, 440). We should use this ability to grasp the thoughts and feelings that the mind contains, and thus undertake ‘exploration’ of the character’s ‘inner life’ (p. 445). This article argues, first, that only a simplified version of the account is plausible; second, that its plausibility as a general account of pop music depends on a dubious conception of the ‘paradigm cases’ (p. 449); third, that its desirability as an account of a narrower range of cases is questionable; and, fourth, that it is motivated by unsuitable assumptions about representation in pop
La scrittura dello sguardo. Il cinema di Brian De Palma.
No full textSaggi di MAssimiliano Spanu, Luca Bandirali e Enrico Terrone, Carlo Griseri, Mario Molinari, Corrado Denaro, Leonardo Gandini, Fabio Zanello, Domenico Monetti, Diego Mondella, Elisa Grando, Piero Babudro, Massimo Causo, Marta Rizzi e Michele Tosolini, Fabio Migneco, Michele Raga, Fabio Fornasari e Mario Gerosa, Davide Tarò, Alessandra Montesanto, Deborah M. Farina. Con la collaborazione di A. Fontana
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Philosophie des narrations
No full textPhilosophie des narrations La rencontre, proposée par l’Université de Gênes – Ecole des Sciences Humaines –Département d’Antiquité, Philosophie et Histoire, avec Carola Barbero et Enrico Terrone sur le sujet de la philosophie de la narration, a été très captivante et a donné de nombreuses occasions de réflexion pour les passionnés de littérature aussi bien que de l’audiovisuel. En effet, l’union des deux domaines, en particulier celui du roman et celui des séries télévisées a amené vers le qu..
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