1,721,015 research outputs found
L'esperienza theatrical: il film visto al cinema
No full textIl saggio esplora il rapporto che la Generazione Zeta ha con la sala cinematografica: il moviegoing, i criteri di scelta dell'esercizio, i fattori della sala prediletti e quelli che ne scoraggiano la frequentazione, i sentimenti e le sensazioni che la visione filmica in sala provoca nei giovani spettator
Robots, Empathy and Trust in Video Games: two Examples
No full textA chapter about robots and empathy in the video games Mass Effect and NieR: Automat
Il cinema e (per) la scuola
No full textDentro l'orizzone dei rapporti tra cinema e scuola si sovrappongono temi e problemi diversi: da quelli più specifici della formazione prossionale a quelli dell'utilizzo dell'audiovisivo nella didattica, fino alle dimensioni più ampie e generali della media literacy. Il saggio analizza il rapporto tra scuola italiana (e specificamente l'università) ed utilizzo dello strumento audiovisivo, anche alla luce della recente nascita del Piano Nazionale Cinema per la Scuola, una serie di bandi emanati dal MiBACT e dal MIUR per la creazione di progetti nelle scuole che prevedano l'utilizzo del cinema
La dimensione sociale e relazionale dell'esperienza del film
No full textAll'interno di uno scenario ormai in costante e rapida trasformazione rispetto all'offerta e ai consumi mediali, il cinema continua a giocare un ruolo assai importante nella creazione di una cultura mediale condivisa a livello sociale. Il saggio indaga il ruolo che il film gioca all'interno della generazione Zeta nella costruzione del proprio universo relazionale
Jacopo da Balsemo e bottega
No full textAnalisi di due pagine di manoscritti miniati ritagliate della seconda metà del XV secolo di Jacopo da Balsemo e bottega, ora in Fondazione Cini a Venezia, con la ricostruzione di codici di provenienza
Robot Speeches: Sounds, Voices and Inflections in Contemporary Science Fiction Cinema
No full textThe debate around robots focuses mainly on the nature of the machine/human relationship and in particular on the traits that allow the former to distinguish itself from the latter. The robotic body is the object of specific attention, in the examination of both the characteristics of machines empowering the human being (the cyborg) and the entities indistinguishable from the human due to a high level of anthropomorphism (the android). The anatomy of the robotic body occupies, in fact, a privileged place also in the cinematographic representation. Science fiction cinema has always wondered about the material from which machines are made, from the reproduction of human skin to the functioning of their internal processors.
Within this wider debate on the bodily referent, however, not so far ahead has been the discussion on the robot's voice, its forms of language and expression, although these traits also pertain, in some way, to the aesthetics of the robot and contribute to define its identity and relationship with the human.
In the light of these assumptions and with the help of the studies concerning the role of the voice in cinema and specifically the sound dimension in the science fiction genre, the essay has two aims. First, it intends to propose a classification (or modelling) of robots starting from the range of sounds, vocal expressions, inflections with which cinema has so far represented them: from synthetic sounds, not comparable to human language (as BB8 in Star Wars: The Last Jedy, Rian Johnson, 2017), to vocal expression without a bodily referent (as Samantha in Her, Spike Jonze, 2013). Secondly, the essay, by focusing on contemporary cinema (in addition to Her, other examples can be Terminator 2: Judgment Day, James Cameron, 1991; Wall-E, Andrew Staton, 2008; Trascendence, Wally Pfister, 2014; I am mother, Grant Sputore, 2019), will question the role that the vocal dimension occupies in the representation and genderification (the latter especially with respect to the feminisation of computer-generated voice) of robot’s bodily identity and in the central issue of the machine/living being relationship
Il passaggio tra due generazioni: dal Maestro dell'Incoronazione a Paolo Veneziano
Full text linkIl portato di Giotto a Venezia è il tema dell'articolo, che tratta della formazione di Paolo Veneziano, il più importante pittore lagunare della prima metà del Trecento, all'interno della bottega del Maestro dell'Incoronazione del 1324
The Eloquent Dispositive. A Cultural Archaeology of Robotics
No full textIn this article, I will contend that robotic dispositives gradually emerge between about 400,000 and 30,000 years ago, as the genus Homo gradually defines the processes and institutions characterizing their culture; and that this emergence is directly linked to a phenomenon scarcely focused on by scholars but of enormous importance for our species: the convergence and connection between the two previously autonomous practices of discoursing and mark-making
Robot Speeches: Sounds, Voices and Inflections in Contemporary Science Fiction Cinema
No full textThe debate around robots focuses mainly on the nature of the machine/human relationship and in particular on the traits that allow the former to distinguish itself from the latter. The robotic body is the object of specific attention, in the examination of both the characteristics of machines empowering the human being (the cyborg) and the entities indistinguishable from the human due to a high level of anthropomorphism (the android). The anatomy of the robotic body occupies, in fact, a privileged place also in the cinematographic representation. Science fiction cinema has always wondered about the material from which machines are made, from the reproduction of human skin to the functioning of their internal processors.
Within this wider debate on the bodily referent, however, not so far ahead has been the discussion on the robot's voice, its forms of language and expression, although these traits also pertain, in some way, to the aesthetics of the robot and contribute to define its identity and relationship with the human.
In the light of these assumptions and with the help of the studies concerning the role of the voice in cinema and specifically the sound dimension in the science fiction genre, the essay has two aims. First, it intends to propose a classification (or modelling) of robots starting from the range of sounds, vocal expressions, inflections with which cinema has so far represented them: from synthetic sounds, not comparable to human language (as BB8 in Star Wars: The Last Jedy, Rian Johnson, 2017), to vocal expression without a bodily referent (as Samantha in Her, Spike Jonze, 2013). Secondly, the essay, by focusing on contemporary cinema (in addition to Her, other examples can be Terminator 2: Judgment Day, James Cameron, 1991; Wall-E, Andrew Staton, 2008; Trascendence, Wally Pfister, 2014; I am mother, Grant Sputore, 2019), will question the role that the vocal dimension occupies in the representation and genderification (the latter especially with respect to the feminisation of computer-generated voice) of robot’s bodily identity and in the central issue of the machine/living being relationship
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