1,721,051 research outputs found
Introduzione. Fine, finali, narrazioni seriali
No full textIn che modo le narrazioni si confrontano con la fine, in senso sia formale che tematico? Come può conciliarsi la temporalità reiterata e potenzialmente dilazionabile di una serie tv con l’idea della fine? Queste narrazioni possono rappresentare anche un luogo nel quale si riflette sull’esperienza della fine? Quando finiscono davvero le storie, come reagiscono e resistono i pubblici alla loro conclusione? Il volume mette al centro la rilevanza che le narrazioni seriali dei media hanno assunto nel nostro quotidiano in relazione al tema della fine. La serialità narrativa è rassicurante in quanto garantisce la permanenza, e dunque l’esistenza, di un universo - non solo finzionale - con cui i pubblici costruiscono un legame significativo. Se esiste un andamento “senza fine”, la serialità delle storie dei media mostra una spiccata tendenza ad andare proprio in questa direzione, aprendo anche a una riflessione sul superamento della fine stessa
Riprese di realtà: indicalità ed efficacia sensibile, tra eyewitness video e news
No full textIn a recording culture that constantly documents the everyday reality through audiovisual materials, a particular type of amateur videos, called eyewitness videos (EV), emerges in crisis situations such as natural disasters or terrorist attacks. The EVs are regularly inserted into the tv news flux as they convey, at the same time, the objectivity effect of a prosthesis and the emotional and testimonial taking charge of those who personally participate in the event. EVs are attributed a value of thereness deriving from their - presumed - self-evidence that provides viewers with the experience of being able to “touch” closely the event. Here it is evoked a form of naive indexicality which, through an impression of immediacy, de-problematizes that complex structural relationship between reality and its reproduction, contained in the media ontology. The analysis covered in this article highlights how that set, consisting of a promise of objectivity, absence of mediation and information surplus provided by the news, hides the effective technical - sound and visual - manipulation included in these materials. It’s a sub-code that produces a sort of amateur aesthetic of crisis, useful to be applied in other media contexts. This logic of sensorial effectiveness that leads to the search for subjective experiential effects, also determines the modification of the conventions related to the journalistic function of documentation. Rather than enriching a witnessing function, the rhetoric comprised in these media processes shows, rather, an impoverishment of the critical and informative role of the media
LUCIO DALLA, PER BREVITÀ CHIAMATO CANTAUTORE
Full text linkThe role of cantautore has occupied a significant space in Italian musical culture (especially in the period between the 1970s and the 1980s) and has defined a fairly well-defined and recognizable form of cultural expression. For a brief period Lucio Dalla has identified himself, or rather he was identified, with the cantautore label, of which the article also specifies some peculiar features, as the analysis of Dalla’s figure is also an opportunity to ask how well this label fits him. The topic is approached from a semiotic perspective, that is, by trying to identify the different positions that Lucio Dalla held in his artistic path, through the identity traits that defined him, considering the literature him dedicated, in his old and recent interviews, as well as in the endless narratives that working partners, friends and journalists have produced. Lucio Dalla has been an artist who struggled enormously to achieve success: a journey of difficult search for artistic identity, which, once defined, became profound and enduring, and continued to grow even after his untimely death in 2012. This approach seems an interesting way of being able to look at artistic and creative processes, showing them as semiotically dense processes, involving a range of actors and leading to the production of specific discursive configurations
Icone pop. Identità e apparenze tra semiotica e musica
No full textChe cosa sono le icone pop? Perché definiscono modelli e propongono idoli? Sono personaggi che occupano uno spazio significativo nella nostra vita ma raramente ci chiediamo cosa rappresentino davvero.
Il libro adotta una metodologia semiotica, senza però doperare un linguaggio tecnico, e analizza le strategie visive che hanno definito l’identità di star musicali come Jovanotti, Daft Punk, Elvis Presley, Bob Dylan, Mina, nei continui rimandi tra musica, moda e media e attraverso la mediazione dell’immagine. Si tratta di personaggi che, in una dimensione sociale performativa, hanno costruito la loro identità nel tempo attraverso interviste, copertine di dischi, videoclip, abiti, stili e comportamenti.
Essere icone pop vuol dire acquisire uno statuto di celebrità, partecipare al dibattito pubblico, incarnare personaggi narrativi e indossare maschere, produrre un complesso gioco di rimandi tra identità ed apparenze. La logica che muove le icone pop musicali può insegnarci molto sui meccanismi sottesi al nostro vivere sociale
The logic of sensorial effectiveness: amateur videos, media witnessing, global crisis news
No full textIn cases of global crisis (e.g. terrorism), a mass of amateur audiovisual materials
is usually produced. The news system adopts advanced strategies incorporating those eyewitness
videos, thanks to their potential in terms of authenticity and witnessing. This paper
put to question the real information values of those videos, focusing on their effects of
reality and their subjectivizing experiential effects, describing a sort of an amateur aesthetics
of crisis, as well as a logic of sensorial effectiveness. The massive recourse to amateur images
raises however wider-scoped questions linked to a discussion on the ethics of eyewitness
images and of media witnessing
Ma i Daft Punk sognano pecore elettriche? Cortocircuiti del pop tra passato, segreto e realtà
No full textTramite uno sguardo sociosemiotico l’articolo descrive la strategia estetica e comunicativa dei Daft Punk, il loro processo di assemblaggio identitario progressivo, e la loro estetica ex-post. Una musica elettronica innovativa ma materialmente costruita a partire da formule sonore del passato. La scelta dei Daft Punk di assumere un’identità segreta si collega al processo di modifica dello statuto di identificazione tra musica e autore, avvenuto nella dance elettronica negli anni Novanta. Adottando un’immagine legata al robot e all’ umanoide, essi si sono collegati a casi pre-esistenti nella cultura pop. Da una estetica ludico-adolescenziale essi sono evoluti verso una forma di realismo vintage. Dotati di abile capacità comunicativa e mediale, i Daft Punk hanno da sempre adoperato una identità para-finzionale, connessa a un immaginario pop ibrido, il che ha fornito loro una grande duttilità intermediale
Textual Innovation of The Audiovisual Language in Fashion Film
No full textIn the last few years the spread of audiovisual productions with diverse links to the world of
fashion has grown consistently, in particular regarding the dissemination of a phenomenon known
as the Fashion Film (FF). From the point of view of the language being used, the FF shows clear
elements deriving from pre-existing audiovisual forms, including the short-feature film, commercial,
music video and art film. An in-depth analysis of the FF’s audiovisual language allows for
a greater understanding of its functions, for or to whom, by which means and in which places it
can be consumed, and moreover what are the aesthetic and ethical expressive constraints of such
a product. The FF is a branded form, produced and financed by fashion brands and companies
that invest in the film as a vehicle for dissemination and promotion. On the one hand the medium
therefore serves the fashion world, allowing it to widen and enrich the expression and communication
dimensions of their brand; on the other hand it helps audiovisual creators and producers
to find financial partners for their artistic projects. The trends emerging in FFs and their explicit
reference to precedent audiovisual languages and genres furthermore reveal several general dimensions,
which are not necessarily mutually exclusive. For fashion brands the FF seems to be an
effective tool to connect to innovative projects, often not only at formal level but also in terms of
ethics and values. The FF has the potential therefore to become a mode of expression that redefines
not only the pre-existent categories of audiovisual forms, but also the type of relations that
the fashion brands establish with their target audienc
Música: más allá del remix
No full textRemix è divenuta una metafora comune nell’ambito culturale la cui definizione potrebbe essere così formulata: selezionare (dal passato), riprendere, compattare e infine riproporre in una nuova versione. Remix proviene da mix, cioè dal fatto che l’insieme di strumenti musicali su disco veniva suddiviso in tracce di registrazione singole (voce, chitarra, basso, tastiere, batteria) da miscelare, per conferire loro un criterio di equilibrio finale. Un altro dato rilevante che emerge dall’estetica del remix consiste dunque nel tratteggiare un processo creativo e autoriale decisamente più aperto e dinamico rispetto ad un’idea di autore-testo più limitata, il che conduce a conseguenze di portata più generali. Descrivendo la musica riprodotta come un oggetto costruito tramite moduli sovrapposti a strati, apparirà più evidente cosa sia un remix
Bowie playing to be. La narrazione e il raffinato gioco della rockstar senza soggetto
Full text linkDavid Bowie played with Rock music treating it like a vital form of expression even if still unripe, and in some ways underdeveloped. Therefore, like any other form of art, it could be treated through a process of re-reading, and through a new analysis and metalinguistic point of view. To do so, he became a musician: he loved composing, recording in the studio and performing live. He gave each of these phases an innovative and transformative power, looking with great analytical attention to his precursors. He imagined alternative routes, feeding on cultural sources which primarily included the theatre, which provided him a broader view of the performance and of the identity of the rock musician, and then literature, cultivated music, cinema, visual arts. The Ziggy Stardust operation was conceived in this direction: a self-reflexive subject based on a musician who talks about being a rock star, while at the same time putting himself on stage in person and taking on the guise of his just created alter ego. A game of mirrors which, amplified by the media and by their visual and narrative mechanisms, got immediate feedback. The fictional dimension in Bowie landed well beyond the space of the stage; at the same time, he denied the need for a rock musician to stage his own intimacy and one's own experience. It was his narration of ideal characters (more or less fictional) that had to get on stage so that they might act as a possible model for the audience, in a theatrical and almost symbolist way. The artistic career of Bowie encompassed performances, emotions and the same body charge that Rock music could carry, enriching the latter with much denser content, without losing sight of the ironic and simply playful component. The musical concept is, beyond all, the way through which his identity was consolidated in contemporary culture, succeeding in making crossovers and fusions of genres, especially among Rock and Soul-Dance music: cultural bridges that have opened really innovative ways and have left a deep mark in contemporary popular culture
Suono e linguaggio audiovisivo: indicalità, percezione sonora, iconismo
No full textWithin audiovisual language sound contributes effectively to the
process of reality simulation thanks to a peculiar textual logic,
far from realistic conventions. Through a semiotic research
enriched by philosophical contributions, here has been dealt the
specific phenomenic statute of the relationship between sound
and his source, where emerges a relevant indexical component.
The discussion goes on with a survey conducted acknowledging
contributions arising from psychology, on the ways in which
sound perception provides an image of the world through
categorical processes (identification and lexicalization, through
sounds and sound forms), investigating specifically the notion of
sound object. The conclusion of the article leads to a broader
argument about the relationship between visual and sound and
to the possibility of a sound figurativity and therefore of a sound
semiotics of culture
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