1,721,160 research outputs found
Stagione Uno
No full textIl tempo è il cuore, la materia viva della serialità televisiva. È il dispositivo formale e il fattore strutturante della narrazione, oltre che la sua occasione e circostanza, quando non il suo oggetto o tema. Della serialità la durata è del resto la ragion d’essere: quello che ne specifica la forma, la produzione, il consumo. E forse, quello che la rende emblematica della serialità tout court, la modalità narrativa per eccellenza del nostro tempo
Back to the Future. La collana Interzone di Feltrinelli come ponte fra pensiero radicale e riflessione accademica
No full textEtnografie sui/nei media digitali: riflessività, collaborazione e performatività
No full textThe chapter is focused ont three crucial methodological issues related to the study of crossmedia practices of digital audiences: reflexivity; participation; performativity. The first part of the chapter is aimed at discussing theoretical implications of these three issues. The second part of the chapter is aimed at presenting some examples of empirical studies conducted at OssCom (Research Center on Media and Communication) of the Università Cattolica of Milan
Ritorno al futuro, generazioni letterarie e racconti di generazione. Media e immaginario letterario dagli anni Ottanta a oggi (e viceversa)
No full textThe participatory turn in the publishing industry: rethorics and practices
No full textOne of the cultural and media areas in which the issue of participation – with all its ambiguity – has recently emerged to full significance is the area of literature and publishing. Following the music, film and television industries, the publishing industry is in fact facing a vast renewal due to digitalization processes (assuming digitalization as a complex negotiation between social and technological forces). New textual formats and devices (such as e-books), new forms of distribution (e.g. online retailing), new marketing strategies (e.g. in the social media), new models of business (e.g. the print on demand) are becoming increasingly popular. At the same time digitalization has enabled the creation of a whole new participatory, grassroots publishing market, while grassroots storytelling and social media (e.g. Twitter, Facebook), used as a collaborative writing environment, bring out participatory forms of online writing that continue the tradition started almost fifteen years ago by the so-called “hypertextual fiction” and the avant-gardes before that. In this context, by addressing the theoretical debate and recent social discourses on the e-book, this article suggests a recognition of the diversity of the forms of participation that are ascribed to the new publishing scenario. Secondly – moving from the Foucauldian notion of author-function – the article solicits the relationship between author and reader in the contemporary digital publishing scenario and addresses the question whether and under what conditions the supposed participatory turn in writing and publishing we are facing promotes the construction of a polyphonic, co-authored, recognizable, collaborative dialogue, or rather points to a cultural landscape where “all discourses [...] would develop in the anonymity of a murmur” (Foucault, 1969)
Networked audiences and small scale groups’ belongings: viewing, sharing and archiving TV content in the Italian social media scenario
No full textStarting from a set of empirical qualitative researches (i.e. multi-situated and virtual ethnographies) on TV consumption and social media use among young Italians, the paper aims to investigate audience performances in downloading, sharing and archiving TV content in contemporary scenario. In addition to a phenomenological approach, the paper proposes to theoretically investigate the TV and social media users from the perspective of social definitions and uses of TV, promoting a (re)consideration both of how TV content grassroots distribution is relevant in personal everyday routines and sociability, and of how these practices shape personal, group and collective identities and belongings
For an archeology of online participatory literary writing: hypertext and hyperfiction
No full textThis article analyzes one of the roots of contemporary online participa- tory writing practices within the literary field, focusing on an object that had its theo- retical heyday twenty years ago: hypertextual fiction. Invented in the sixties by social informatics visionary Ted Nelson, the word “hypertext” gained academic attention in the humanities in the early nineties with the works (among others) of George P. Landow, Paul Delany, David Bolter and Stuart Moulthrop. In 1992, in his review of Michal Joyce’s Afternoon (still credited as one of the first pieces of hypertext fiction) Robert Coover (1992) wrote in The New York Times Book Review: “much of the novel’s al- leged power is embedded in the line [...] [T]hrough print’s long history, there have been countless strategies to counter the line’s power [...] but true freedom from the tyranny of the line is perceived as only really possible now at last with the advent of hypertext, writ- ten and read on the computer, where the line in fact does not exist unless one invents and implants it in the text”. Since then, hypertext started to be defined as an artefact empow- ering the reader to subvert the linear text and the author’s authority, and thus, within a post-structural and postmodern theoretical framework, deconstructing and subverting the very roots of power tout court. By addressing hypertext theory (a mixture of history of textual forms, of reading practices, and of technologies of memory, semiotics, post- structuralist and feminist theory, etc.) and tracing the influences of postmodern literature and the literary avant-gardes on hypertext fiction, the article will thus investigate both the construction of hypertext as a participatory “cultural object” – in Wendy Griswold’s (1994) terms – and the legacy of that theoretical debate and those artistic practices in contemporary reflections on online collaborative literary writing
The Year Pop died: Celebrity Grief, Memory, Media and Generations
No full textIn 2016 – the annus horribilis of pop – the death of music artists such as David Bowie, George
Michael and Prince produced a prodigious amount of commemorative initiatives, both spontaneously
and within the media and celebrity worlds, with an impressive level of online expressions
of grief. Addressing these three cases within the framework of social generation studies, celebrity
theory and death studies, the paper proposes some hypotheses on the role that the death of celebrities
plays in the construction of generational identity as “discursive articulation” where specific
media practices/representations (in our case, mourning practices) play a crucial role in making
generational narratives group together around shared symbolic and semantic cores
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