1,409 research outputs found
“Language-Power Intersections in the Translation of Post-War Italian Cinema: Fellini's Le Notti di Cabiria as Case Study.”
No full textInclusive Theatres as Boosters of Wellbeing: Concepts and Practices
No full textWith the surge in media accessibility studies, researchers have explored the possibility of using psychological indicators to study modes of production, consumption, and reception of audiovisual and accessible media texts. However, most of the methodologies and measures applied so far tend to evaluate perception and/or reception in the short term, i.e., immediately after viewing media texts or attending live performances. This article moves from previous articles on inclusive theatres (Di Giovanni, 2021; Raffi, 2021) and sets forth to evaluate individuals’ reactions to inclusive activities in the medium to long-term. To this end, the concept of well-being becomes central, along with some of the measures and tools so far employed to measure it outside the realm of accessibility studies
Late Miocene calcareous nannofossil biostratigraphy and astrobiochronology for the Mediterranean region
No full textResults are presented of a quantitative biostratigraphic study of the calcareous nannofossils from the upper Miocene Metochia section (Gavdos Island, Greece) located in the eastern Mediterranean. The study allows the completion of the calcareous nannofossil Zonal Scheme for the Mediterranean Neogene. Parts of the scheme have already been proposed earlier for the Pliocene-Pleistocene (Rio et al. 1990b) and for the latest Oligocene to early late Miocene (Fornaciari and Rio 1996, Fornaciari et al. 1996).
The Metochia section proved to be a suitable section for high-resolution biostratigraphic studies. It has a detailed planktonic foraminiferal biostratigraphy and a robust chronology based on the astronomical calibration of the sedimentary cycles (Krijgsman et al. 1995, Hilgen et al. 1995). Age estimates for the nannofossil biohorizons recognized in the section were obtained through direct correlation to this astrochronology. Five out of seventeen biohorizons were selected for biostratigraphic purposes and to define the (sub)zonal boundaries. They are (in stratigraphic order): LO (Last Occurrence) of Discoaster hamatus Martini and Bramlette 1963, equivalent to the base of Subzone MNN10a, dated at 9.53 Ma; FCO (First Consistent Continuous Occurrence) of Discoaster pentaradiatus (Tan 1927) Bramlette and Riedel 1954, equivalent to the base of Subzone MNN10b, at 9.37 Ma; PB; (Paracme Beginning) of Reticulofenestra pseudoumbilicus (Gartner 1967) Gartner 1969, equivalent to the base of Zone MNN11a, at 8.76 Ma; FO (First Occurrence) of Amaurolithus spp. (A. primus (Bukry and Percival 1971) Gartner and Bukry 1975), equivalent to the base of Subzone MNN11b, at 7.42 Ma. and FO of Nicklithus amplificus (Bukry and Percival 1971) Raffi Backman and Rio 1998, equivalent to the base of Subzone MNN11c, at 6.69 Ma. We compared our biochronology with data available from other Mediterranean sections (Sprovieri et al. 1996, Negri et al. 1999, Negri and Villa 2000, Bonomo 200 1), and with the nannofossil biochronology from low-latitude oceanic reference sections (Raffi et al. 1995, Backman and Raffi 1997). Our results evidence differences and similarities: some of the recently proposed events in the Tortonian-Messinian (e.g., FO and FCO of Reticulofenestra rotaria Theodoridis 1984, FO of Amaurolitus delicatus Gartner and Bukry 1975) proved not to be reliable and do not improve the biostratigraphic resolution by calcareous nannofossils in the time interval under consideration. On the other hand, the five selected biohorizons can easily be reproduced elsewhere in the Mediterranean. and are considered useful for correlations to the extra-Mediterranean realm
“Gomorrah The Series Flies to the UK: How is Gomorrah’s World Rendered in English Subtitles?”
No full text"Full Access to Cultural Spaces (FACS): Mapping and Evaluating Museum Access Services Using Mobile Eye Tracking Technology"
No full textAbstract
The present paper aims to present significant results stemming from the FACS (Full Access to Cultural Spaces) project, launched in 2014 by the University of Macerata and concluded in 2016. In particular, this paper reports on stages one and two of the FACS project which aimed first to explore the state of the art of universal access services across a large variety of museums in Italy and nine other EU countries. Based on the first stage, an analysis of some of the most significant data obtained from a questionnaire sent out to over 1,200 European museums will be presented, with a special focus on multilingual devices and access services for the sensory impaired. The first stage was followed by an eye-tracking study on an Italian museum, Turin’s Museo Nazionale del Cinema (National Cinema Museum), aimed at evaluating visitors’ experience, attitudes and patterns of fruition through a test with a portable eye tracker (Tobii Pro Glasses 2, 50 Hz). Based on this second stage, the fruition of information panels by museum visitors at the Museo Nazionale del Cinema will be explored, specifically focusing on reading patterns and behaviours.</jats:p
THE ITALIAN CINEMA DISTRIBUTED IN THE UK DURING THE POST-WAR PERIOD:A DIACHRONIC STUDY OF FILM SUBTITLING
No full textIn order to try to fill a gap in the existing literature on audiovisual translation, the general aim of this interdisciplinary project is to offer a diachronic study of film subtitling, mainly focusing on the Italian cinema distributed in the UK during the post-war period. More specifically, after having introduced in Chapter 1 the background as well as the disciplinary motivations for the proposed research, which will be further discussed in Chapter 2, this work may be divided into two main sections.
The first one starts in Chapter 3, which traces the evolution of subtitling as translation practice, with a special focus on changing conventions at technical and linguistic level (punctuation and other conventions), from the silent era to the arrival of sound, thus creating a bridge between AVTS and Film Studies in a diachronic perspective. This link will be further strengthen in Chapter 4, which explores Italian cinema during the post-war period, contextualising the titles produced in those years within the social, cultural, political and economic context. The distribution of Italian films produced after the Second World War within the UK market will then be explored, with special emphasis on the choice of audiovisual translation modality adopted to distribute them within the British market, and on the preference of subtitling over dubbing for the so-called Italian art films.
This first section, in addition to having explored film subtitling and Italian
12
cinema in a diachronic perspective, drawing on both Audiovisual Translation Studies and Film Studies, has also served as basis for the second section of the present work: the construction and analysis of a corpus of Italian films distributed in the UK, comprising three different subtitled versions for each title, with a 46-year time span, on average: Il Miracolo (Roberto Rossellini 1949), Ladri di Biciclette (Vittorio De Sica 1949); La Strada (Federico Fellini 1952), and L’Avventura (Michelangelo Antonioni 1960).
Chapter 5 illustrates then the film corpus: the criteria for the collection of filmic materials, the selected source of data, the procedure for data collection, as well as the process of data transcription and extraction; the films under scrutiny will be illustrated in full details. Chapter 6 presents a descriptive and mainly qualitative analyses of the four films, and corresponding different versions, focusing on three main ‘dimensions’: technical (layout and spatial constraints), linguistic (punctuation marks and other conventions), and translation dimensions (the analysis of cultural elements). The decision to focus on these aspects precisely stems from the study carried out in the first section of the work, and specifically:
the changing practices and conventions which have affected film subtitling from the silent cinema era to modern times (Chapter 3);
the context in which these titles have been conceived and produced, determining their strict bound with the geographical, ethnographic, and socio-political national context (see Chapter 4);
the context in which these titles have been distributed and consumed,
13
determining and influencing British viewer’s habits and expectations (see Chapter 5).
Chapter 7 will finally provide with general and preliminary conclusions stemming from the studies carried out in the two main sections of the present work, also proposing further possibilities to expand the proposed research.
Finally, after having listed the bibliographical and filmic references, the thesis concludes with the appendices, which contain the transcription of the film corpus: appendix I includes the transcription of the dialogues of the four films; and appendix II comprises the transcription of the subtitles from the 16 mm and 35 mm film prints, the VHS tapes, and the DVDs
La valutazione dell’esperienza del pubblico. Accessibilità e studi di ricezione al Macerata Opera Festival
No full textThis essay discusses an audience reception study carried out in the framework of media accessibility in order to evaluate the experience of blind/partially sighted patrons and their (sighted) accompanying persons in the context of Macerata Opera Festival (MOF), 2018 edition. Adopting a qualitative analytical approach, in which the main interest is on individuals (i.e. the samples under investigation), and relying on post-hoc self-report questionnaires, three interdependent variables were measured: (1) comprehension and recall, (2) cognitive load, and (3) psychological immersion. This analytical approach was then combined with a descriptive approach including the collection of attitudinal data for the evaluation of appreciation and preferences. Results reveal that there was no substantial divergence in the levels of the variables under investigation between the two samples: blind/partially sighted and sighted (accompanying) patrons. Additionally, audio description and tactile tours did not provoke cognitive overloading and they even increased psychological immersion. Furthermore, it is possible to find a correspondence between the high levels of appreciation and preferences and the results related to comprehension and recall, cognitive load, and psychological immersion. This confirms the effectiveness of audio descriptions and tactile tours in enhancing audience’s experience and increasing blind/partially sighted users’ empowerment
“Translating Migrants: Lost voices in the Italian Documentary Film ‘Come il Peso dell’Acqua’ and its English Subtitles”
No full textThe distribution of Come il Peso dell’Acqua, In Italy and in the USA, through subtitling and voice-over
Elena Di Giovanni. 2020. La traduzione audiovisiva e i suoi pubblici. Studi di ricezione. Napoli: Paolo Loffredo Editore.
No full text- …
