844 research outputs found
Fantozzi. L'eterno ritorno
No full textL'ipotesi alla base di questo videosaggio è che Paolo Villaggio sia stato gradualmente "fagocitato" dal suo personaggio più famoso, quel ragionier Ugo Fantozzi di cui l'attore, al debutto televisivo, raccontava in terza persona le "tragiche" domeniche impiegatizie.
Passando al grande schermo, Villaggio sceglie di vestire in prima persona i panni del ragioniere. Ma lo sfruttamento intensivo cui egli si sottopone, unito al rapido esaurirsi della sua vena creativa, lo costringono, film dopo film, a una ripetizione estenuante delle medesime gag. E mentre Fantozzi perde via via le proprie caratteristiche satiriche per trasformarsi in una figura più infantile e cartoonesca, il corpo attoriale di Villaggio, al contrario, si fa visibilmente più vecchio e affaticato, incapace di reggere fisicamente il ruolo.
Seguendo le trasformazioni del personaggio e del suo creatore-interprete, il lavoro intende proporre un percorso complessivo (ma tutt'altro che definitivo) all'interno della saga fantozziana. Un saggio audiovisivo costruito come una sorta di polittico, nel quale ciascun capitolo può essere considerato in modo autonomo e, al tempo stesso, come tappa di un discorso più ampio intorno a una delle figure più popolari del cinema italiano del secondo dopoguerra.The idea behind this videoessay is that actor Paolo Villaggio has been gradually "swallowed" by his most famous character, the humble accountant Ugo Fantozzi, of which Villaggio, in his television debut, told the misadventures using third person narration.
In 1975, when Fantozzi became a movie character, Villaggio decided to assume in first person the main role. But the intensive exploitation of the character, coupled with the rapid exhaustion of his creative vein, have forced the author-actor to a draining repetition of the same gags. While Fantozzi gradually loses its satirical characteristics to become a more childish and cartoonesque figure, Villaggio's body, on the contrary, becomes visibly older and weaker, physically unable to support the role.
Following the transformations of the character and its creator-interpreter, our work intends to propose a journey through the Fantozzi's saga. An audiovisual essay built as a sort of medieval polyptych, in which each chapter can be considered autonomously and, at the same time, as a stage in a wider discourse around one of the most popular figures of postwar Italian cinema
Fantozzi. L'eterno ritorno
No full textThe idea behind this videoessay is that actor Paolo Villaggio has been gradually "swallowed" by his most famous character, the humble accountant Ugo Fantozzi, of which Villaggio, in his television debut, told the misadventures using third person narration.In 1975, when Fantozzi became a movie character, Villaggio decided to assume in first person the main role. But the intensive exploitation of the character, coupled with the rapid exhaustion of his creative vein, have forced the author-actor to a draining repetition of the same gags. While Fantozzi gradually loses its satirical characteristics to become a more childish and cartoonesque figure, Villaggio's body, on the contrary, becomes visibly older and weaker, physically unable to support the role.Following the transformations of the character and its creator-interpreter, our work intends to propose a journey through the Fantozzi's saga. An audiovisual essay built as a sort of medieval polyptych, in which each chapter can be considered autonomously and, at the same time, as a stage in a wider discourse around one of the most popular figures of postwar Italian cinema
Read and Commit block in Volleyball
No full textA kinematical study of Read and Commit block in Volleyball
Introduction
Two tactic systems are used for blocking in volleyball: the Read Block System (RBS) or the Commit-Option Block System (CBS). In the RBS, the blocker starts close to the net looking to the opponent’s setter, ready to react to different types of set. In the CBS, the blockers has to follow the approach of the specific opposite hitter without worrying about the set. In both cases the key point for the effectiveness of the block is the lateral movement before the jump. Two types of footwork techniques are normally used: the Cross-over (CO) and the Slide Step (SS) 1,2. Previous studies jumping vertically showed significant differences between systems3. It’s the same after a lateral movement?
Methods
Subjects: 4 males elite level players were acquired by means of stereo-photogrammetry (6 cameras, 100 Hz frequency 16 markers). Simulating the RBS, players had to carry out block exercises as answer to a stimulus: an operator on the other side of the net moved a 2 markers stick up, right or left in order to simulate the possible sets in zone 2, 3 or 4. The player was prompt to react, reading the coach miming of the opponent set in all the three possible directions (left, right, or up) and then moved or jumped consequently. In the CBS, the player decided by himself when start. Three trials for each type of block were acquired. The best trials were identified from the maximum jump height reached. The following variables were selected: temporal phases of steps, elevation, knee flexion angles (at the countermovement). The non-parametric Wilcoxon test was performed to compare the two type of blocking techniques (α=0.05).
Results
No significant differences were found between the two tactic systems.
Discussion/Conclusion
Footwork techniques can be trained at the same time in order to be applied in both tactics. Thus, the difference in blocking performance seems to depend mostly by the decision making process and in the control of arms and hands when contacting the ball.
References
1. Cox R. H., Noble, L., & Johnson, R. E. (1982). RQES, 53 (2), pp. 101-107.
2. Buekers, M. J. (1991). RQES, 62 (2), 232-2
3. Lobietti R., Fantozzi S., Merni F. (2006) In: XXIV ISBS Congress Vol.1 pp. 151-15
Interventi di Maurizio Ambrosini, Pietro Fantozzi, Enzo Pace, Francesco Ramella, Rocco Sciarrone, Lia Tirabeni, Mara Tognetti
No full textChi, docente e/o ricercatore, usa il sapere sociologico rispondendo a richieste d’intervento professionale, intreccia nel suo operare relazioni che dialetticamente mettono alla prova e sviluppano la specificità sociologica delle sue competenze. Vada o meno l’intervento a buon fine, spesso molto dipende dalle modalità con cui si attua il processo interattivo e cooperativo: nelle
due direzioni, come di seguito esposto
New Area-Time Lower Bounds for the Multidimensional DFT
No full textArea-time lower bounds are derived for the VLSI computation of the (n1 x n2 x ... nd)-point multidimensional DFT (MDDFT) over different types of rings and different types of input/output protocols. First, an AT^2 = Ω((N log|R|)^2) bound is obtained for any finite ring R, where N = n1 x n2 x ... x nd, for any word-local protocol. The bound was previously known for the special case when R = Z_M, the ring of integers modulo M.
Second, an AT^2 = Ω((Nb)^2) word-local bound is derived when R is the complex field, the components of the input are fixed-point numbers of b bits, and the precision of the output components guarantees that the resulting approximate transform is injective. No area-time lower bound was previously known for the DFT over the complex field.
Third, an AT^2 = Ω((N log|R|)^2) bound is derived when R = GF(p^m) is a finite field of polynomials of degree m with coefficients in Z_p, for certain classes of non word-local protocols. This is the first area-time lower bound derived for the DFT with I/O protocols that are not word-local
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