1,720,981 research outputs found
Narrazioni
No full textThe definition of man as a "narrating being", which Pope Francis used in his Message for the 54th World Communications Day, represents well the premises of a line of research aimed at exploring in the media universe the structures that shape stories and understand, through their functioning, who is the man who tirelessly creates them and why he is never satisfied with them. The conviction of those who study narratives (and thus also the contexts that receive them and the effects they produce, which differ according to historical periods) is that they first and foremost reveal, underlying theories and practices, the relational nature of the individual. Every narrative, therefore, be it literary, cinematographic or televised, provides the scholar with information on both the author and the user, both of whom participate in the same living fabric of the world. Defining the nature of the dialogue between these two subjects is an ever new research challenge. Another story to tell
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
Lo splendore del vero
No full textA concise reflection on the role, history and fate of Catholic film criticism on the Italian scene
La bomba e le vittime
No full textA commentary on the power of visual imagery related to the atomic bomb, its use and its consequences, from Christopher Nolan's film "Oppenheimer
“Various Are the Incidents in One Man’s Life Which Cannot Be Reduced to Unity”. First Aristotelian Lesson on Transcodification
No full textFor 2300 years, Aristotle’s Poetics has been telling us all we know about the art of structuring stories, together with our ability to know the world and the human being through them. Aristotle is one of the greatest philosophers of all Western thought. At first, his inquiry was oriented towards the scientific field. This let him include in his research disciplines that had seldom been explored by thinkers before his time, focused within a wide-ranging system. Throughout the 20th century, Aristotle’s revival was nearly unanimous. In the 21st century, the modernity of his thought has been proved by the vivacity of neo-Aristotelian schools in many different fields, where several researchers rediscovered important ethical, anthropological, and rhetorical topics thanks to the Greek intellectual. According to some recent in-depth analysis, the neo-Aristotelian philosophy is one of the most interesting new trends within the complex scenario of contemporary thought. The media landscape is not immune to this allure. Just think of the for- tune of the neo-Aristotelian currents within the American screenwriting textbooks. What are the reasons why a text written more than two thousand years ago survives every media revolution and continues to inform our way of reading the world and telling it? Where does storytelling – the way Aristotle helped us identify it and organize it – place itself in the post-digital era? If today we can speak of transcodification, it is thanks to some key concepts of the Aristotelian narrative theory. In particular, the content of chapter 8 of Poetics (according to the modern subdivision) traces coordinates which are still very useful for media scholars and audiovisual storytellers, in order to prove that the storytelling which ruled the Western civilization for two thousand years is still alive and in good health
Il tramonto di Indiana Jones. L'ultima avventura del professore al cinema
No full textA commentary on the importance of the Indiana Jones saga within film history, with a final evaluation of the fifth episod
Negli occhi della distopia. Visioni, confini e fratture di un universo seriale
No full textThe essay analyzes the narrative universe of The Handmaid’s Tale as a paradigmatic expression of contemporary dystopia. It explores the central role of the visual image in activating the symbolic, dramaturgical, and ideological dimensions of the story, focusing on the evolution of the character June Osborne, the dialectic between past and future, and the function of flashbacks. Through an analysis of the aesthetic and narrative strategies of television seriality, the contribution reflects on forms of iconic control, totalitarian drift, and the ethical potential of dystopian storytelling
High Concept Italian Style. La fucina delle idee nella storia e nell’immaginario del cinema italiano. Prospettive di ricerca
Full text linkBefore being about visionary authors, craftsmanship and industry, Italian cinema is about ideas. Aristotle stated the primacy of plot (both in its essential structures and in its being summarisable in few words) as the fundamental condition to deliver meaning, emotions and therefore to get a feedback from the audience. By accepting this statement, as well as the studies and sources able to testify to some resisting narrative trends inside the history of Italian cinema, the essay means to explore the effectiveness of the “high concept” notion in our storytelling and film production. By disproving the thesis which refers this notion only to the aesthetic and the business of the Hollywood giant, we argue that a movie can be defined as such thanks to its deep narrative core as well as the sense of familiarity due to the people’s national imagination. Thus, it is possible to find traces of “high concept” within the storytelling tradition of Italian cinema, as well as its screenwriters’ creative workshop. The attempt is suggest how to identify them and answer some questions about Italian movies as seen in the light of “high concept”: which are those movies? Are they isolated cases? Can they be put into a canon? Did they succeed in the critics’ eyes? We also mean to encourage the drawing of a map including already trodden roads as well as new journeys for tomorrow
Oppenheimer, la potenza delle immagini. Le fratture nel nuovo film di Christopher Nolan
No full textA commentary on the history of images related to the creation and use of the atomic bomb, starting with the film 'Oppenheimer' by Christopher Nola
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