Enlightenment forerunners in Essos? The issue of slavery in Game of Thrones. Game of Thrones has won the attention of several social scientists, including those dealing with economic issues. The way the author of the novels and the TV series showrunners deal with the subject of slavery reveals a far from superficial knowledge of the 18th century abolitionist debate. The paper aims to highlight the similarities between the ideas put forward in the dialogues of Game of Thrones characters and the political, juridical and economic reflections that we find in the Enlightenment authors committed to the abolition of slavery. In both cases, it is clear that – without an adequate reconfiguration of the legislative structure and a rational reorganization of the economic system – the freeing of slaves can have uncertain outcomes.
{"title":"Prodromi illuministici a Essos? Il tema della schiavitù in Game of Thrones = Enlightenment forerunners in Essos? The issue of slavery in Game of Thrones","authors":"Simona Pisanelli","doi":"10.1285/I22840753N15P39","DOIUrl":"https://doi.org/10.1285/I22840753N15P39","url":null,"abstract":"Enlightenment forerunners in Essos? The issue of slavery in Game of Thrones. Game of Thrones has won the attention of several social scientists, including those dealing with economic issues. The way the author of the novels and the TV series showrunners deal with the subject of slavery reveals a far from superficial knowledge of the 18th century abolitionist debate. The paper aims to highlight the similarities between the ideas put forward in the dialogues of Game of Thrones characters and the political, juridical and economic reflections that we find in the Enlightenment authors committed to the abolition of slavery. In both cases, it is clear that – without an adequate reconfiguration of the legislative structure and a rational reorganization of the economic system – the freeing of slaves can have uncertain outcomes.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48780466","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-17DOI: 10.1285/I22840753N15P271
M. Binotto
A producerly campaign. Narratives and visual culture, connected publics and ironic activism, in reactions to the "Fertility Day". Irony, disillusionment, disenchantment, parody: around these terms was articulated - at the end of the last century - the debate around the cultural forms of late modernity, on the cultural, linguistic and communicative characteristics of a capitalist social system increasingly based on the management of information and network organizational forms. The use of provocative and ironic images and narratives appears increasingly frequent to stimulate participation and engagement considered indispensable in the public debate mediated by digital platforms. The communication campaign of the "Fertility Day", promoted by the Italian Ministry of Health in August 2016 and aimed at raising awareness on the issue of couple fertility, has generated lively protests, particularly interesting to identify the transformations that affect the media space, the protagonism and the new modes of narration created by audiences, media actors, movements. Starting from Fiske's definition of producerly text, the article analyzes how the tension between text and socio-cultural context, like that between text and image, has made the top-down media contents proposed by FertilityDay particularly prolific of public reactions. In this contribution are presented part of the results of a research on these events, in particular, the identification of the relationship between visual content and the styles and communicative practices typical of emerging screen cultures in these social media logic.
{"title":"Una campagna \"producente\". Narrazioni e cultura visuale, pubblici connessi e attivismo ironico, nelle reazioni al \"Fertility Day\" = A producerly campaign. Narratives and visual culture, connected publics and ironic activism, in reactions to the \"Fertility Day\"","authors":"M. Binotto","doi":"10.1285/I22840753N15P271","DOIUrl":"https://doi.org/10.1285/I22840753N15P271","url":null,"abstract":"A producerly campaign. Narratives and visual culture, connected publics and ironic activism, in reactions to the \"Fertility Day\". Irony, disillusionment, disenchantment, parody: around these terms was articulated - at the end of the last century - the debate around the cultural forms of late modernity, on the cultural, linguistic and communicative characteristics of a capitalist social system increasingly based on the management of information and network organizational forms. The use of provocative and ironic images and narratives appears increasingly frequent to stimulate participation and engagement considered indispensable in the public debate mediated by digital platforms. The communication campaign of the \"Fertility Day\", promoted by the Italian Ministry of Health in August 2016 and aimed at raising awareness on the issue of couple fertility, has generated lively protests, particularly interesting to identify the transformations that affect the media space, the protagonism and the new modes of narration created by audiences, media actors, movements. Starting from Fiske's definition of producerly text, the article analyzes how the tension between text and socio-cultural context, like that between text and image, has made the top-down media contents proposed by FertilityDay particularly prolific of public reactions. In this contribution are presented part of the results of a research on these events, in particular, the identification of the relationship between visual content and the styles and communicative practices typical of emerging screen cultures in these social media logic.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46119362","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-17DOI: 10.1285/I22840753N15P313
G. Ducci, A. Lovari, Lucia D'ambrosi
Between screens and skirmishes: the challenges of visual in institutional storytelling. In the evolution of models and practices of public sector communication, it becomes increasingly important for municipalities to live with awareness the current hybrid and convergent medial ecosystem. Public sector organizations have developed their presence in online spaces, enriching their interface with citizens opening new "digital screens" (eg: apps, instant messaging, social media), communication environments where the visual dimension is prevalent; more recently, they experiment strategies and techniques of visual storytelling. Based on the literature on public sector communication and on the institutional uses of social media, this article presents an exploratory and qualitative study, conducted through the analysis of social media channels of selected Italian municipalities, supported by in-depth interviews with institutional communication responsible officers. The study aims at investigating the impact of visual storytelling strategies and techniques adopted in their organizations.
{"title":"Fra schermi e schermaglie: le sfide del visual nello storytelling istituzionale = \"Between screens and skirmishes\": the challenges of visual in institutional storytelling","authors":"G. Ducci, A. Lovari, Lucia D'ambrosi","doi":"10.1285/I22840753N15P313","DOIUrl":"https://doi.org/10.1285/I22840753N15P313","url":null,"abstract":"Between screens and skirmishes: the challenges of visual in institutional storytelling. In the evolution of models and practices of public sector communication, it becomes increasingly important for municipalities to live with awareness the current hybrid and convergent medial ecosystem. Public sector organizations have developed their presence in online spaces, enriching their interface with citizens opening new \"digital screens\" (eg: apps, instant messaging, social media), communication environments where the visual dimension is prevalent; more recently, they experiment strategies and techniques of visual storytelling. Based on the literature on public sector communication and on the institutional uses of social media, this article presents an exploratory and qualitative study, conducted through the analysis of social media channels of selected Italian municipalities, supported by in-depth interviews with institutional communication responsible officers. The study aims at investigating the impact of visual storytelling strategies and techniques adopted in their organizations.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42125390","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A visual research on the memories of an industrial city. The case of Brindisi. The author has conducted a two-year visual search in the city of Brindisi, motivated by recent medical and judicial evidence on the dramatic socio-health consequences of one of Italy's most impacting industrial poles. From a territory with an agricultural, fish and tourist vocation, Brindisi has succumbed to the lure of industrial development plans and now it seems to implode at the sight of the consequences on its own physical and cultural conformation. In an indirect apology of visual sociology, the research attempts to observe and point out that more than half a century of massive industrial colonization has profoundly changed the self-representation of the city, in a descending parable that involved its expectations of the future and, simultaneously, its own memory and identity.
{"title":"Una ricerca visuale sulle memorie di una città industriale. Il caso Brindisi = A visual research on the memories of an industrial city. The case of Brindisi","authors":"Corrado Punzi","doi":"10.1285/I22840753N15P7","DOIUrl":"https://doi.org/10.1285/I22840753N15P7","url":null,"abstract":"A visual research on the memories of an industrial city. The case of Brindisi. The author has conducted a two-year visual search in the city of Brindisi, motivated by recent medical and judicial evidence on the dramatic socio-health consequences of one of Italy's most impacting industrial poles. From a territory with an agricultural, fish and tourist vocation, Brindisi has succumbed to the lure of industrial development plans and now it seems to implode at the sight of the consequences on its own physical and cultural conformation. In an indirect apology of visual sociology, the research attempts to observe and point out that more than half a century of massive industrial colonization has profoundly changed the self-representation of the city, in a descending parable that involved its expectations of the future and, simultaneously, its own memory and identity.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49015677","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-17DOI: 10.1285/I22840753N15P229
S. Monaci
The spread of social media highlights controversial changes in the public sphere: new opportunities of access and expression in fact go alongside aberrant phenomena of extremist propaganda. In recent years, civil society institutions and bodies have responded to the wave of hatred and violence on social media through online awareness-raising campaigns aimed at combating ideological propaganda and offering alternative narratives to vulnerable individuals. The essay develops a critical reflection on some of these initiatives in view of social media affordances and the communication strategies adopted by promoters. What is the role of social media campaigns in consideration of the public sphere at risk? What are the limits and criticalities for issuers? What are the potential effects on audiences? Starting with a number of case histories, the contribution highlights that issuers often find themselves facing the conservative dilemma between the possibility of using social media strategically and the risk of legitimising extremist organisations that use the same media channels. The study also reveals that awareness-raising messages, developed in the form of a counter-narrative or alternative narrative, can trigger counterproductive actions such as the backfire effect which reinforce, rather than mitigate, the polarisation between individuals, particularly online, and which thereby invalidate the arguments and critical intentions of the campaigns.
{"title":"Combating extremism in a public sphere at risk: platforms' affordances, dilemmas and opportunities of social media campaigns","authors":"S. Monaci","doi":"10.1285/I22840753N15P229","DOIUrl":"https://doi.org/10.1285/I22840753N15P229","url":null,"abstract":"The spread of social media highlights controversial changes in the public sphere: new opportunities of access and expression in fact go alongside aberrant phenomena of extremist propaganda. In recent years, civil society institutions and bodies have responded to the wave of hatred and violence on social media through online awareness-raising campaigns aimed at combating ideological propaganda and offering alternative narratives to vulnerable individuals. The essay develops a critical reflection on some of these initiatives in view of social media affordances and the communication strategies adopted by promoters. What is the role of social media campaigns in consideration of the public sphere at risk? What are the limits and criticalities for issuers? What are the potential effects on audiences? Starting with a number of case histories, the contribution highlights that issuers often find themselves facing the conservative dilemma between the possibility of using social media strategically and the risk of legitimising extremist organisations that use the same media channels. The study also reveals that awareness-raising messages, developed in the form of a counter-narrative or alternative narrative, can trigger counterproductive actions such as the backfire effect which reinforce, rather than mitigate, the polarisation between individuals, particularly online, and which thereby invalidate the arguments and critical intentions of the campaigns.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42174960","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-17DOI: 10.1285/I22840753N15P159
P. Panarese
Deforming Mirrors and Optical Illusions. Gendered Advertisements in the Practitioners' Reading. The relationship between gender and advertising is a classic object of socio-communicative research (Goffman 1977), investigated more in content than in public or production. Many articles have focused on sexual stereotyping (Barthel 1988; Belkaoui, Belkaoui 1976; Furnham, Bitar 1993; Furnham, Schofield 1986; Furnham, Voli 1989; Garcia-Munoz et. al. 1994; Livingstone, Green 1986; Gilly 1988; McArthur, Resko 1975; Mazzella et. al. 1992; Rak, McMullen 1987; Zayer, Otnes 2012.), neglecting other dimensions and finally producing a state of analytical exhaustion. Hence the intention to investigate the advertising production processes that lead to certain representations, analyzing where the ideas for gender portrayals come from and who determines how and what gender-based advertising should be. Forty in-depth interviews with practitioners in management roles, working in national and international advertising agencies based in Italy, equally divided by gender and professional roles (twenty women and twenty men, twenty creative directors and twenty account manager/director), have been carried out. Results have revealed the existence of shared cognitive patterns and recurring production processes. In particular, the respondents recognize the rigidity, poverty and low quality of gender images in Italian advertising and are critical towards them. At the same time, they believe that distortions in gender images are inevitable, due to (apparent) technical issues such as brevity, marketing constraints, reference to large audiences. They appreciate the most innovative gender portrayals, but they believe that Italy is not the best country to innovate. They all recognize the power of advertising in influencing audiences, but they are divided, by gender and role, both in terms of the most questionable images and in relation to their personal and professional responsibilities.
变形镜和光学错觉。从业人员阅读中的性别广告性别与广告之间的关系是社会交际研究的一个经典对象(Goffman 1977)，在内容方面的研究多于在公共或生产方面的研究。许多文章聚焦于性别刻板印象(Barthel 1988;Belkaoui, 1976;弗恩汉姆，比塔尔1993;弗恩汉姆，斯科菲尔德1986;弗恩汉姆，Voli 1989;Garcia-Munoz et al. 1994;格林·利文斯通1986;侍从1988;麦克阿瑟，雷斯科1975;Mazzella et al. 1992;Rak, McMullen 1987;Zayer, Otnes 2012.)，忽略了其他维度，最终产生了一种分析枯竭的状态。因此，打算调查导致某些表现的广告制作过程，分析性别描绘的想法来自何处以及谁决定如何以及应该是什么基于性别的广告。对在意大利国内和国际广告公司工作的管理人员进行了40次深入访谈，按性别和专业角色平均划分(20名女性和20名男性，20名创意总监和20名客户经理/总监)。结果揭示了共享认知模式和重复生产过程的存在。特别是，受访者认识到意大利广告中性别形象的僵化、贫穷和低质量，并对其持批评态度。同时，他们认为性别形象的扭曲是不可避免的，这是由于(明显的)技术问题，如简短、营销限制、涉及大量受众。他们欣赏最具创新性的性别描述，但他们认为意大利不是最适合创新的国家。他们都认识到广告在影响观众方面的力量，但他们在最可疑的形象方面以及他们的个人和职业责任方面，按性别和角色划分。
{"title":"Specchi deformanti e illusioni ottiche. Immagini pubblicitarie di genere nella lettura dei professionisti del settore = Deforming Mirrors and Optical Illusions. Gendered Advertisements in the Practitioners' Reading","authors":"P. Panarese","doi":"10.1285/I22840753N15P159","DOIUrl":"https://doi.org/10.1285/I22840753N15P159","url":null,"abstract":"Deforming Mirrors and Optical Illusions. Gendered Advertisements in the Practitioners' Reading. The relationship between gender and advertising is a classic object of socio-communicative research (Goffman 1977), investigated more in content than in public or production. Many articles have focused on sexual stereotyping (Barthel 1988; Belkaoui, Belkaoui 1976; Furnham, Bitar 1993; Furnham, Schofield 1986; Furnham, Voli 1989; Garcia-Munoz et. al. 1994; Livingstone, Green 1986; Gilly 1988; McArthur, Resko 1975; Mazzella et. al. 1992; Rak, McMullen 1987; Zayer, Otnes 2012.), neglecting other dimensions and finally producing a state of analytical exhaustion. Hence the intention to investigate the advertising production processes that lead to certain representations, analyzing where the ideas for gender portrayals come from and who determines how and what gender-based advertising should be. Forty in-depth interviews with practitioners in management roles, working in national and international advertising agencies based in Italy, equally divided by gender and professional roles (twenty women and twenty men, twenty creative directors and twenty account manager/director), have been carried out. Results have revealed the existence of shared cognitive patterns and recurring production processes. In particular, the respondents recognize the rigidity, poverty and low quality of gender images in Italian advertising and are critical towards them. At the same time, they believe that distortions in gender images are inevitable, due to (apparent) technical issues such as brevity, marketing constraints, reference to large audiences. They appreciate the most innovative gender portrayals, but they believe that Italy is not the best country to innovate. They all recognize the power of advertising in influencing audiences, but they are divided, by gender and role, both in terms of the most questionable images and in relation to their personal and professional responsibilities.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1285/I22840753N15P159","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46258128","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-17DOI: 10.1285/I22840753N15P353
F. Marrazzo
Social TV in television production. The case history of "Un Posto al Sole". In recent years, social tv has become part of the cross-medial strategy of broadcasters, a new focus for advertisers and market researchers, and has been increasingly seen as a new chance of creating public value for the public service media. Starting from these premises, the aim of this contribution is to explore the ways by which social tv strategies can become part of the production processes of an Italian public service broadcasting program. The goal of this exploratory research is to understand whether in the strategy of using Facebook the promotional, or the relational dimension, is more emphasized. The research has highlighted, in particular, how social TV has not yet an autonomous relevance in the production process of the tv series chosen for this case study research (Un Posto al Sole) and how some opportunities for interaction with the audience are not still exploited with a view to a greater connection between production and consumption.
电视制作中的社交电视。“单一邮政”的个案历史。近年来，社交电视已成为广播公司跨媒体战略的一部分，成为广告商和市场研究人员关注的新焦点，越来越被视为公共服务媒体创造公共价值的新机会。从这些前提出发，本贡献的目的是探索社会电视战略如何成为意大利公共服务广播节目制作过程的一部分。这项探索性研究的目的是了解在使用Facebook的策略中，促销维度还是关系维度更受重视。该研究特别强调了社交电视在本案例研究选择的电视剧(Un postto al Sole)的制作过程中尚未具有自主相关性，以及如何利用与观众互动的一些机会，以期在生产和消费之间建立更大的联系。
{"title":"La social tv nella produzione televisiva. Il caso di Un Posto al Sole = Social TV in television production. The case history of \"Un Posto al Sole\"","authors":"F. Marrazzo","doi":"10.1285/I22840753N15P353","DOIUrl":"https://doi.org/10.1285/I22840753N15P353","url":null,"abstract":"Social TV in television production. The case history of \"Un Posto al Sole\". In recent years, social tv has become part of the cross-medial strategy of broadcasters, a new focus for advertisers and market researchers, and has been increasingly seen as a new chance of creating public value for the public service media. Starting from these premises, the aim of this contribution is to explore the ways by which social tv strategies can become part of the production processes of an Italian public service broadcasting program. The goal of this exploratory research is to understand whether in the strategy of using Facebook the promotional, or the relational dimension, is more emphasized. The research has highlighted, in particular, how social TV has not yet an autonomous relevance in the production process of the tv series chosen for this case study research (Un Posto al Sole) and how some opportunities for interaction with the audience are not still exploited with a view to a greater connection between production and consumption.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44258349","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The performative screen and its look on audiovisual self-portraits. In the context of the film studies, the theme of self-portraiture is often explored in its relationship with the self-documentary and auto-ethnographic tendencies which, in the contemporary mediascape, have led to a reversal of the role of the spectator, involving him/her in a process of emancipation from the predominantly attentive position. Like home movies and social movies demonstrate, the spectator can now perform a series of practices that allow him/her to become exposed subject through the images of himself and produced by himself. The spectatorial look on the screen is infact involved in a process of reversibility and oscillation between the practice of making self-portraits and the self-portrait objects, becoming, at the very end of the creative process, the gaze of the screen itself. The particular relationship between the audiovisual configurations of the self and the display-screen, progressively inserted in a performative and reflexive rhetoric that significantly departs from the pictorial and literary self-portraits, is what we are investigating
{"title":"Lo schermo performativo e il suo sguardo sugli autoritratti audiovisivi = The performative screen and its look on audiovisual self-portraits","authors":"A. Sabatino","doi":"10.1285/I22840753N15P69","DOIUrl":"https://doi.org/10.1285/I22840753N15P69","url":null,"abstract":"The performative screen and its look on audiovisual self-portraits. In the context of the film studies, the theme of self-portraiture is often explored in its relationship with the self-documentary and auto-ethnographic tendencies which, in the contemporary mediascape, have led to a reversal of the role of the spectator, involving him/her in a process of emancipation from the predominantly attentive position. Like home movies and social movies demonstrate, the spectator can now perform a series of practices that allow him/her to become exposed subject through the images of himself and produced by himself. The spectatorial look on the screen is infact involved in a process of reversibility and oscillation between the practice of making self-portraits and the self-portrait objects, becoming, at the very end of the creative process, the gaze of the screen itself. The particular relationship between the audiovisual configurations of the self and the display-screen, progressively inserted in a performative and reflexive rhetoric that significantly departs from the pictorial and literary self-portraits, is what we are investigating","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49031464","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
"It's a trap". Transmedia Screen Storytelling: from the immersive experience to participatory interactivity. The current narrative environment sees as protagonists of the production and distribution of content, important franchises, able to colonize the imaginary built on media representations, saturating also the conversations on social media. Think, for example, of memes, videos and UGC that have as a reference such narrative universes. In this context, it is possible to note a structural transformation of the original concept of transmedia (Jenkins 2006), in function of two variables: the circulation of stories through different media, the multiplication of the possibilities of creation and diffusion of the narrative universe by users (Scolari 2013). Such a scenario determines a new balance between producers and consumers, in relation to the dynamics of access to the fruition of the storyworld (Ryan 2014), by virtue of a multiple authorship (Wolf 2014) and a non-sequential narrative (macro-history, interstitial stories, parallel stories, peripheral stories, UGC). In the light of these changes, the paper proposes a reflection on the distribution of transmedia content through screen-based media, privileged points of entry of the narrative, thanks to its intrinsic characteristics (Lipovetsky and Serroy 2011). In particular, the case study "Star Wars", a paradigmatic example of classical transmediality and, at the same time, of evolved transmediality, is explored in depth. Through an analysis of the different productions activated starting from the acquisition of the brand by Disney, a specific parallelism between narration and screen emerges: macro-history produced for cinema, interstitial stories for cinema and television, parallel productions for television and videogames (consoles), peripheral stories for video, social platforms and videogames (consoles and apps). The analysis returns the dimension of a transmedia cultural interface (Manovich 2001) built by screens, which stands as a continuum between the immersive experience of cinema, of collective nature, and the interactive and participatory dimension given by mobile devices, of individual nature.
{"title":"\"It's a trap\". Transmedia Screen-Storytelling: dall'esperienza immersiva all'interattività partecipativa = \"It's a trap\". Transmedia Screen Storytelling: from the immersive experience to participatory interactivity","authors":"Fabio Ciammella, Giovanni Ciofalo, Silvia Leonzi","doi":"10.1285/I22840753N15P89","DOIUrl":"https://doi.org/10.1285/I22840753N15P89","url":null,"abstract":"\"It's a trap\". Transmedia Screen Storytelling: from the immersive experience to participatory interactivity. The current narrative environment sees as protagonists of the production and distribution of content, important franchises, able to colonize the imaginary built on media representations, saturating also the conversations on social media. Think, for example, of memes, videos and UGC that have as a reference such narrative universes. In this context, it is possible to note a structural transformation of the original concept of transmedia (Jenkins 2006), in function of two variables: the circulation of stories through different media, the multiplication of the possibilities of creation and diffusion of the narrative universe by users (Scolari 2013). Such a scenario determines a new balance between producers and consumers, in relation to the dynamics of access to the fruition of the storyworld (Ryan 2014), by virtue of a multiple authorship (Wolf 2014) and a non-sequential narrative (macro-history, interstitial stories, parallel stories, peripheral stories, UGC). In the light of these changes, the paper proposes a reflection on the distribution of transmedia content through screen-based media, privileged points of entry of the narrative, thanks to its intrinsic characteristics (Lipovetsky and Serroy 2011). In particular, the case study \"Star Wars\", a paradigmatic example of classical transmediality and, at the same time, of evolved transmediality, is explored in depth. Through an analysis of the different productions activated starting from the acquisition of the brand by Disney, a specific parallelism between narration and screen emerges: macro-history produced for cinema, interstitial stories for cinema and television, parallel productions for television and videogames (consoles), peripheral stories for video, social platforms and videogames (consoles and apps). The analysis returns the dimension of a transmedia cultural interface (Manovich 2001) built by screens, which stands as a continuum between the immersive experience of cinema, of collective nature, and the interactive and participatory dimension given by mobile devices, of individual nature.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1285/I22840753N15P89","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44677695","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-17DOI: 10.1285/I22840753N15P141
Matteo Genovesi
Eyes on video game screens: her story and five nights. The ability to simultaneously manage large amounts of information on a screen has remained the core of the videogame medium and is associated with "multitasking", a term borrowed from computer science and used today in the most disparate areas. In every video game, this feature tends to alternate with "telescoping", a term borrowed from cognitive psychology, in which the user must focus on managing the current resources available while considering their possible future uses. There are some exceptions, however. This essay will examine "Her Story" (Barlow 2015) and "Five Nights at Freddy's" (Cawthon 2014), two video games based on the same core concept: the subjective look on screens, which is the primary activity for the main character and the constant ludic premise followed by a specific polarization of knowledge for the gamer. This essay will consider these two cases to argue that multitasking and telescoping should not necessarily be linked in an alternate process in the videogame medium, but that each of them can represent an autonomous process on which a different experience can be built, articulated on specific semantic characteristics.
眼睛盯着电子游戏屏幕:她的故事和五个夜晚。同时管理屏幕上大量信息的能力一直是电子游戏媒介的核心，并与“多任务处理”相关联，这是一个从计算机科学中借用的术语，如今用于大多数不同的领域。在所有电子游戏中，这一功能往往与“伸缩”交替出现，这是一个来自认知心理学的术语，即用户必须专注于管理当前可用的资源，同时考虑它们未来的可能用途。然而，也有一些例外。本文将研究“Her Story”(Barlow 2015)和“Five Nights at Freddy’s”(Cawthon 2014)这两款基于相同核心概念的电子游戏:屏幕上的主观外观，这是主角的主要活动，以及持续的搞笑前提，随后是玩家的特定知识极化。本文将考虑这两种情况，以证明多任务处理和伸缩不应该在电子游戏媒介的替代过程中联系在一起，但它们中的每一个都可以代表一个独立的过程，在这个过程中可以构建不同的体验，并根据特定的语义特征进行表达。
{"title":"Videosguardi videoludici: la sua storia e le cinque notti = Eyes on video game screens: her story and five nights","authors":"Matteo Genovesi","doi":"10.1285/I22840753N15P141","DOIUrl":"https://doi.org/10.1285/I22840753N15P141","url":null,"abstract":"Eyes on video game screens: her story and five nights. The ability to simultaneously manage large amounts of information on a screen has remained the core of the videogame medium and is associated with \"multitasking\", a term borrowed from computer science and used today in the most disparate areas. In every video game, this feature tends to alternate with \"telescoping\", a term borrowed from cognitive psychology, in which the user must focus on managing the current resources available while considering their possible future uses. There are some exceptions, however. This essay will examine \"Her Story\" (Barlow 2015) and \"Five Nights at Freddy's\" (Cawthon 2014), two video games based on the same core concept: the subjective look on screens, which is the primary activity for the main character and the constant ludic premise followed by a specific polarization of knowledge for the gamer. This essay will consider these two cases to argue that multitasking and telescoping should not necessarily be linked in an alternate process in the videogame medium, but that each of them can represent an autonomous process on which a different experience can be built, articulated on specific semantic characteristics.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48709468","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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