33 research outputs found
Percorsi tra tradizione e modernità all'interno dell'universo femminile nel cinema di regime (1929-1943)
No full textTitle: Paths Through Tradition and Modernity in the Female Universe of Fascist Regime Cinema (1929-1943)
Examining critical studies about women in Fascist Regime cinema, we discover that there are only a few publication and biographical essays on the diva phenomenon (divismo). Some studies, useful but quite peripheral, deal with the various socio-cultural aspects of the filmic production under Fascism. No critical space is devoted to women, when in fact women were true protagonists of the stories narrated on the silver screen. This research study intends to follow the female figure through âpathsâ and âtypologiesâ (the sinner, the mother, the victim, the femme fatale âthe new womanâ etc.) during the period between 1929 and 1943. 1929 was chosen as a starting point, because it is the year when Mario Camerini shot Rotaie, while 1943 is the year when Luchino Viscontiâs Ossessione was released. This movie marks a turning point, since it launches a female role which was completely new in the filmic production of the time. The two films embody two types of female figure: the first, frequent in melodrama, is the woman as instrument of conversion for the man; the second, instead, is the woman who leads the man to perdition, with her passionate sensuality. The first embodies the exemplary wife and mother, exalted by fascist propaganda, the second illustrates the collapse of the family as institution. Considering the vast corpus of films produced in the period mentioned above, we find paths leading in various directions; examining diachronically the evolution of the female figure, we find it most represented in two macro-genres: comedy and melodrama. The cinematic production of the Regime period focuses almost exclusively on comedy, the favorite escapist genre popular also in Hollywood. Comedy projected images of wealth at a difficult historic and economic time. Most Italian movies, while imitating American, French, Magyar and German models, prompt at less transgressive, less emancipated female types, yet still inspired by a desire for independence. The Regime displayed an ambivalent and contradictory attitude towards such female figures: on the one hand laws were passed that confined women to the domestic sphere, thereby promoting the syrupy image of exemplary wives and mothers, on the other hand women were actively involved in public life, therefore inevitably removed from paternal and conjugal tutelage. The comedies studied in chapters II, III and IV show a conciliatory ending; here the emancipatory desires of the women are redirected towards the reassuring domestic sphere. In the early Forties however, we find a certain disregard for the oleographic female model promoted by the regime. The melodrama (chapters V, VI, VII), quite uncommon until the late Thirties (well into the autarky years) and during the war, produces the most unusual women protagonists: prostitute, single mother, adulteress. Since melodrama is the natural space for female protagonism, we decided to give ample space to the examination of melodramatic films, despite the limited production in comparison to comedies. The educational message endorsed by the cinema, and particularly by méloâthe genre of the conflict between the individual and societyâis almost always aimed at swerving away the female audience from behaviours that were deviant or contrary to common morals; in some films, instead, we catch the glimpse of a different message, because female protagonists are willing to go against the leading social rules, in order to affirm their right to freedom, despite the tragic end of their personal stories. (I bambini ci guardano, Ossessione, Malombra). The plots of the melodramas appear inspired and guided by the moral imperative to warn the ânew womanâ who is exposed to the dangers of urban life, victim of her inner frailty, easy prey to male advances. Although the mélos are less numerous than the comedies, they still provide a code of conduct for young female audiences: no passional lapse is allowed for women before marriage; they absolutely must not confuse eros with agape
Validating time series of a combined GPS and MERIS Integrated Water Vapor product
No full textIncreased knowledge of atmospheric water vapor can improve weather predictions and is expected to reduce errors in products derived from GPS and (In)SAR data. At GPS ground stations Integrated Water Vapor (IWV) is estimated from the GPS signal delay with a high temporal resolution. The Envisat MERIS spectrometer obtains spatially dense IWV observations but at limited moments in time. In this research the additional value of MERIS IWV is evaluated when added to GPS IWV for the purpose of obtaining a high quality spatial-temporalwater vapor product. At each of 39 stations, first GPS IWV from surrounding stations is used to produce a two months time series of IWV with a temporal resolution of one hour. Then both GPS and MERIS IWV are used together. The two resulting time series are validated against direct GPS IWV as measured at the station.Aerospace Engineerin
InSAR based validation of MERIS IWV cloud gap filling using GPS IWV
No full textHigh spatial resolution integrated water vapor (IWV) estimates are available from the MERIS spectrometer on board of Envisat. Unfortunately cloud cover results in loss of a large amount of MERIS IWV pixels. Here methods are presented for filling cloud gaps in MERIS IWV scenes, first, by directly interpolating remaining pixels not affected by clouds, and second, by fusion with cloud insensitive IWV observations from ground stations of the GPS network. Results are validated by independent IWV estimates obtained from suited SAR interferograms. The results indicate that the procedure works mathematically in a correct way, but that the physical application of the results is strongly hampered by MERIS pixels affected by not automatically detected clouds.Remote SensingAerospace Engineerin
Bambini infelici e famiglie infrante nel cinema di regime
No full textIl saggio focalizza la sua attenzione sul tema dell’adulterio femminile, considerato argomento tabù dalla censura e dalla propaganda fascista, e sulle ripercussioni che esso provoca sui figli. Piccola mia di Eugenio De Liguoro e Il canale degli angeli di Francesco Pasinetti, pellicole uscite a metà anni Trenta, bypassano la tematica incandescente del tradimento extraconiugale con il ravvedimento finale delle protagoniste che tornano al loro ruolo di matres familiae. In particolare il film di Pasinetti anticipa di quasi dieci anni la storia raccontata da I bambini ci guardano di Vittorio De Sica: Bruno, il bimbo protagonista, vive con partecipazione sofferta la nascita di un affetto tra la propria madre e un marinaio. La possibile perdita della figura materna viene somatizzata dal bambino in gesti e azioni fatte di silenzi, di avvicinamenti al padre, di furtivi sguardi verso i due amanti. Il tutto poi si scioglie nel finale quando il marinaio decide di partire e la madre di rimanere con il figlio e il marito. Ne I bambini ci guardano, Pricò non è più in grado di salvare il matrimonio dei genitori perché la famiglia non è più una cellula salda e integra, come il regista dimostra superando ipocrisie ideologiche e radiografando pulsioni sociali ed esistenziali nuove. Lo sguardo del bimbo è lo stesso di Bruno, ma con una messa a fuoco più nitida di quanto accade attorno a lui. A nulla valgono i suoi tentativi di nascondere al padre i continui tradimenti della madre, che alla fine rinuncia al figlio in nome della felicità personale. E nulla può il bimbo per richiamare il padre ai suoi doveri di pater familias. In seguito al trauma dell’abbandono della madre e del suicidio del padre Pricò diventa adulto e sceglie di rimanere in collegio, pur avendo di fronte a sé una madre disponibile a prendersi ancora cura di lui. Il suo dolore è troppo forte per perdonare la donna che lo ha tradito nei suoi affetti più profondi
Correction of tropospheric water vapour effect on ASAR interferogram using synchronous MERIS data
No full textThe water vapour in troposphere has been identified as one of the major errors in SAR interferograms, which can cause a spatial delay during two non-simultaneous acquisitions. The microwave-signal propagation path delay due to water vapour may reduce the reliability of deformation measurements. In this paper, it aims to assess the water vapour effect on interferograms, and apply synchronous MERIS data to reduce the effect on ASAR interferograms. Due to the co-existence of MERIS and ASAR on board of ENVISAT satellite, they can acquire data co-located in the same time and space. So it has a unique advantage to combine MERIS and ASAR data to reduce the tropospheric water vapour effect on ASAR interferograms. However, the method is not so well operational, and still existing some problems need to be further discussed, such as: how to deal with the cloud coverage over MERIS water vapour image; and how to register MERIS to ASAR from different reference systems, and so on. These will be discussed in this paper, and novel ideas are proposed to deal with them. The discussions are based on the application of the test site in the middle and lower reaches of Yangze River, southwest Hubei province, China.Engineering, Electrical & ElectronicGeosciences, MultidisciplinaryRemote SensingEICPCI-S(ISTP)
Evaluating MERIS-Based Aquatic Vegetation Mapping in Lake Victoria
No full textDelineation of aquatic plants and estimation of its surface extent are crucial to the efficient control of its proliferation, and this information can be derived accurately with fine resolution remote sensing products. However, small swath and low observation frequency associated with them may be prohibitive for application to large water bodies with rapid proliferation and dynamic floating aquatic plants. The information can be derived from products with large swath and high observation frequency, but with coarse resolution; and the quality of so derived information must be eventually assessed using finer resolution data. In this study, we evaluate two methods: Normalized Difference Vegetation Index (NDVI) slicing and maximum likelihood in terms of delineation; and two methods: Gutman and Ignatov’s NDVI-based fractional cover retrieval and linear spectral unmixing in terms of area estimation of aquatic plants from 300 m Medium Resolution Imaging Spectrometer (MERIS) data, using as reference results obtained with 30 m Landsat-7 ETM+. Our results show for delineation, that maximum likelihood with an average classification accuracy of 80% is better than NDVI slicing at 75%, both methods showing larger errors over sparse vegetation. In area estimation, we found that Gutman and Ignatov’s method and spectral unmixing produce almost the same root mean square (RMS) error of about 0.10, but the former shows larger errors of about 0.15 over sparse vegetation while the latter remains invariant. Where an endmember spectral library is available, we recommend the spectral unmixing approach to estimate extent of vegetation with coarse resolution data, as its performance is relatively invariant to the fragmentation of aquatic vegetation cover
The Ontario Human Rights Code's Distributive and Recognitional Functions in the Workplace
No full textReproduced by permission of Lancaster House, originally published at “The Ontario Human Rights Code's Distributional and Recognitional Function in the Workplace (2014) 18(1) Canadian Labour & Employment Law Journal 145.In her analysis of the purpose of the Ontario Human Rights Code, the author draws on Nancy Fraser's distinction between the two main strategies that have been used to combat inequality. Strategies of redistribution, which prevailed among equality activists in the early twentieth century, see inequality as arising from unequal access to economic resources. Strategies of recognition, which have come into prominence more recently, see inequality as arising from sociocultural prejudices that deny equal recognition to disadvantaged groups. Although the Ontario Human Rights Code is often seen as focusing on recognitional issues, the author argues that through the market relationships the Code regulates and the remedial powers it grants, it also adopts a redistribution strategy designed to address the economic impact of prohibited discrimination: that is, the Code aims to change how resources and opportunities are to be allocated for those with protected identity traits. An understanding of the interaction between the Code's recognitional and redistributive functions sheds light on its purpose and method of operation, as well as on its relationship to other equality-seeking legal mechanisms such as collective bargaining and the equality rights provisions of the Canadian Charter of Rights and Freedoms. Thus, the need for a range of legal tools to counter inequality in different contexts comes more clearly into focus
Meris Nicoletto, Donne nel cinema di regime fra tradizione e modernità, Edizioni Falsopiano, Alessandria 2014 : [recensione]
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