1,720,999 research outputs found
Canzoni per lo schermo. Le origini di una fruttuosa sinergia
No full textIl saggio offre una panoramica innovativa e globale del rapporto tra cinema muto e canzone, individuando le modalità di relazione tra le due forme espressive, i luoghi della loro compresenza, le funzioni e i pubblici di riferimento; in sintesi le modalità di presenza della canzone nel e accanto al cinema
Choir transhumance in the Filipino Catholic community in Rome
Full text linkThe article is part of a research project (2014-2018) among Christian immigrants in Rome and focuses particularly on the Filipino community. Serena Facci presents the general context of the migrant church experience of Rome, a city historically considered as central to the wider transnational community of Catholic Christians, where, thanks to the hosting politics of the Vicariate, there are several ‘national’ and ‘multinational’ churches, characterised by liturgies in different languages and by repertoires of chants in different geocultural styles. The migrants’ position in the holy city is juxtaposed with the multicentricity of the diaspora and the mediation between the motherland and the new places of residence. Grazia Tuzi shows how the Filipinos in Rome represent this multicentricity through the liturgical services of musical groups and choirs from the peripheral churches surrounding Rome. On Sundays, the Filipino micro-communities proceed in a kind of “transhumant” movement according to a predetermined schedule, from their parishes to the Chaplaincy located in the Basilica of Santa Pudenziana, which is the gathering place of all Filipinos living in Rome. Here they accompany the Sunday liturgy and religious Festivals in performances that bear witness to a remarkable musical variety.
The analysis of these musical practices and the complex organization of the choir’s "transhumance" from the periphery to the centre can facilitate the understanding of the processes used by this migrant community in the re-articulation and maintenance of their own identity in the new socio-cultural spheres.
The article is part of a research project (2014-2018) among Christian immigrants in Rome and focuses particularly on the Filipino community. Serena Facci presents the general context of the migrant church experience of Rome, a city historically considered as central to the wider transnational community of Catholic Christians, where, thanks to the hosting politics of the Vicariate, there are several ‘national’ and ‘multinational’ churches, characterised by liturgies in different languages and by repertoires of chants in different geocultural styles. The migrants’ position in the holy city is juxtaposed with the multicentricity of the diaspora and the mediation between the motherland and the new places of residence. Grazia Tuzi shows how the Filipinos in Rome represent this multicentricity through the liturgical services of musical groups and choirs from the peripheral churches surrounding Rome. On Sundays, the Filipino micro-communities proceed in a kind of “transhumant” movement according to a predetermined schedule, from their parishes to the Chaplaincy located in the Basilica of Santa Pudenziana, which is the gathering place of all Filipinos living in Rome. Here they accompany the Sunday liturgy and religious Festivals in performances that bear witness to a remarkable musical variety.
The analysis of these musical practices and the complex organization of the choir’s "transhumance" from the periphery to the centre can facilitate the understanding of the processes used by this migrant community in the re-articulation and maintenance of their own identity in the new socio-cultural spheres.
Il muto melomane. Cinema e canzone 1895-1927
No full textNumero monografico della rivista "Immagine" dedicato ai rapporti tra cinema muto e canzone. Il numero ospita 5 saggi in inglese, che danno conto del carattere internazionale della ricerca. Accanto ad alcuni casi di presenza del "sonoro" nella cinematografia muta napoletana, austriaca, o ancora brasiliana, il volume indaga il ruolo dell'"illustrated song", come pure la trasformazione intermediale di canti (e poi inni), come Addio Giovinezza!, di grande impatto popolare, o la creazione di canzoni dedicate ai miti del cinema muto (es. Chaplin)
Mille canzoni per un burattino che canzonava
No full textThe article considers some of the many songs inspired by Collodi\u27s book, in particular those that are part of film soundtracks. The author distinguishes the songs of Pinocchio from those about Pinocchio.
Pinocchio doesn\u27t sing much in the novel, rather he jokes, he is intrigued by shows and loves to party, he pollutes the soundscape with his wooden feet, in short he is noisy like a naughty child. Generally, Italian films respect philologically this spontaneous childish musicality of Pinocchio. Instead, foreign musical films as those of Disney and Del Toro have used the episode of Mangiafuoco\u27s theater to underline Pinocchio\u27s identity as a real puppet, as a showman.
Moreover, even the authors of songs about Pinocchio have interpreted and celebrated him (as on the occasion of the inauguration of the park in Collodi) in many ways, highlighting the ambiguity and richness of the character and of his adventures. Even the music (melodies, arrangements, sounds) are affected by the bittersweet complexity of the elusive puppet.The article examines some of the many songs inspired by Collodi’s book, in particular those that are part of film soundtracks. The author distinguishes between the songs about Pinocchio and those song by Pinocchio. Pinocchio does not sing much in the novel, he mainly likes mocking and is easy-go- ing, interested in plays and loves partying. He furthermore pollutes the soundscape with his wooden feet and is altogether a noisy and naughty child. Italian films generally respect Pinocchio’s sponta- neous childish musicality, whereas foreign musical films, such as those produced by Disney and Del Toro have used the episode of Mangiafuoco’s theater to underline Pinocchio’s identity as a showman, who is actually a puppet. Moreover, also the authors of the songs about Pinocchio interpreted and celebrated him in many ways (e.g.the inauguration of the park in Collodi) highlighting the ambiguity and richness of the character and his adventures. Even the music (melodies, arrangements, sounds) are influenced by the bittersweet complexity of the elusive puppet
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
Variations on the Author
Full text link“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
Un canto sulla collina di Mubende
No full textIl kubandwa è un culto di possessione diffuso in Africa Centro-orientale e attualmente in rispresa anche presso le popolazioni cristianizzate. Si basa su un pantheon molto ampio. Tra gli spiriti più importanti ci sono i Bacwezi, una mitica stirpe regnante sull'area. A Mubende, uno dei siti sacri più importanti in Uganda, l'autrice ha incontrato la medium di uno spirito femminile, Nyakahima, che, durante un'intervista ha intonato un canto particolarmente suggestivo anche in quanto testimonianza di sincretismo religioso.Kubandwa is a possession cult in the Great Lake Region in Africa. The most important spirits are the Bacwezi, an ancient mythic dynasty of kings. In Mubende, an important sacred site, the author met a medium of the spirit of Nyakahima. She sang a song particularly interesting, because was an exemple of the syncretism between this cult and the Christian religion
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