Pub Date : 2019-12-17DOI: 10.1285/I22840753N15P109
R. Carradore, L. Carrera
Living and Surviving in gaming community of Twitch Italia. In this contribution we present the results of an empirical study on the interactive entertainment in the gaming community of Twitch Italia. The research conducted so far on the co-evolution of the Twitch platform and community has focused on the quantitative flow of the audience; on gaming entertainment and e-sport; and on the communicative style. In the Italian context there is still a lack of systematic studies on the organization of virtual relations from a sociological point of view. We have observed Twitch Italia community in the perspective of Douglas' grid-group model and Bourdieu's field analysis, using digital ethnography's method and semi-structured interviews with streamers and audience. We describe here three processes: digital socialization, from the acquisition of digital skills to the internalization of community's values and norms; collective organization of interactive entertainment; the impact of monetization on the communicative pact with the followers. The analysis conducted allows to identify some motives of tension within the community and the strategies adopted in the process professionalization by young streamers in the transition to adulthood.
{"title":"Vivere e sopravvivere nella community videoludica di Twitch Italia = Living and Surviving in gaming community of Twitch Italia","authors":"R. Carradore, L. Carrera","doi":"10.1285/I22840753N15P109","DOIUrl":"https://doi.org/10.1285/I22840753N15P109","url":null,"abstract":"Living and Surviving in gaming community of Twitch Italia. In this contribution we present the results of an empirical study on the interactive entertainment in the gaming community of Twitch Italia. The research conducted so far on the co-evolution of the Twitch platform and community has focused on the quantitative flow of the audience; on gaming entertainment and e-sport; and on the communicative style. In the Italian context there is still a lack of systematic studies on the organization of virtual relations from a sociological point of view. We have observed Twitch Italia community in the perspective of Douglas' grid-group model and Bourdieu's field analysis, using digital ethnography's method and semi-structured interviews with streamers and audience. We describe here three processes: digital socialization, from the acquisition of digital skills to the internalization of community's values and norms; collective organization of interactive entertainment; the impact of monetization on the communicative pact with the followers. The analysis conducted allows to identify some motives of tension within the community and the strategies adopted in the process professionalization by young streamers in the transition to adulthood.","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/I22840753N15P109","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42843553","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/I22840753N15P185
C. Moroni
Politics becomes an image: the visual narrative of the political leader. In contemporary political communication, the practice of simplifying the message and the political context has found an excellent tool in the realization of a dialogic flow that is exhausted in the communicative power of the leader and in the personalized narrative of his political project. In a digital and crowded communicative context, the leader emerges realizing the "emotional horizontality" of the dialogue: the message is framed in an emotional context that flows from the leader to the public and from the public to the leader in a constant exchange, which in turn it feeds on emotional sharing and cognitive simplification of themes and frames. The goal is to "connect", through the emotional context, the leader with his audience. Thanks to social networks, the images have found a new expressive and communicative centrality as variously combined visual elements, they are able to build and maintain an emotional and cognitive link between the participants in the communication. Politics also seeks to exploit the conversational power of images to give emotional depth to personalized narratives of leaders. In political storytelling, the image is an increasingly central part of a discourse focused on the leader and on the narration of his political action: the visual statement constitutes a portion of the discourse, making the semantic and emotional richness of images available to the story.
{"title":"La politica si fa immagine: la narrazione visual del leader politico = Politics becomes an image: the visual narrative of the political leader","authors":"C. Moroni","doi":"10.1285/I22840753N15P185","DOIUrl":"https://doi.org/10.1285/I22840753N15P185","url":null,"abstract":"Politics becomes an image: the visual narrative of the political leader. In contemporary political communication, the practice of simplifying the message and the political context has found an excellent tool in the realization of a dialogic flow that is exhausted in the communicative power of the leader and in the personalized narrative of his political project. In a digital and crowded communicative context, the leader emerges realizing the \"emotional horizontality\" of the dialogue: the message is framed in an emotional context that flows from the leader to the public and from the public to the leader in a constant exchange, which in turn it feeds on emotional sharing and cognitive simplification of themes and frames. The goal is to \"connect\", through the emotional context, the leader with his audience. Thanks to social networks, the images have found a new expressive and communicative centrality as variously combined visual elements, they are able to build and maintain an emotional and cognitive link between the participants in the communication. Politics also seeks to exploit the conversational power of images to give emotional depth to personalized narratives of leaders. In political storytelling, the image is an increasingly central part of a discourse focused on the leader and on the narration of his political action: the visual statement constitutes a portion of the discourse, making the semantic and emotional richness of images available to the story.","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":"47829890","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/I22840753N15P249
Andrea Massera
Collective imagination of riot: iconography of uprisings in contemporary History. The purpose of this article consists in finding recurrent iconographies in urban riots during Contemporary History. After a brief description of what can be considered a riot nowadays, it analyzes visual material that represents the most known social protests in contemporary History. From the French riots in 1830 and 1848 to the most recent events such as G8 Summit of Genoa, banlieues riots, Arab Spring, and so on. To do so, the paper is supported by a lot of different visual sources: paintings and newspaper's illustrations, photos and digital media. In fact, this iconographic research also deals with new media’s images, such as videogames, social media, Google. The focus of this paper is to find and analyze the recurring patterns of urban riots’ representations, that can be found through centuries and different visual materials. From the already mentioned traditional media to the new digital ones, any urban riot has common elements which are interesting to explore and deeply analyze.
{"title":"Immaginario collettivo e iconografia della rivolta nella storia contemporanea = Collective imagination of riot: iconography of uprisings in contemporary History","authors":"Andrea Massera","doi":"10.1285/I22840753N15P249","DOIUrl":"https://doi.org/10.1285/I22840753N15P249","url":null,"abstract":"Collective imagination of riot: iconography of uprisings in contemporary History. The purpose of this article consists in finding recurrent iconographies in urban riots during Contemporary History. After a brief description of what can be considered a riot nowadays, it analyzes visual material that represents the most known social protests in contemporary History. From the French riots in 1830 and 1848 to the most recent events such as G8 Summit of Genoa, banlieues riots, Arab Spring, and so on. To do so, the paper is supported by a lot of different visual sources: paintings and newspaper's illustrations, photos and digital media. In fact, this iconographic research also deals with new media’s images, such as videogames, social media, Google. The focus of this paper is to find and analyze the recurring patterns of urban riots’ representations, that can be found through centuries and different visual materials. From the already mentioned traditional media to the new digital ones, any urban riot has common elements which are interesting to explore and deeply analyze.","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":"47097627","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}
Even though an increasing number of experts in popular culture has repeatedly highlighted that over the past two decades mass entertainment, notably tv series and videogames, has grown more and more sophisticated, the narratives enjoyed in this context are still often described as mercenary and useless rivals of novels and movies. Most of the detractors, indeed, hold that tv series and videogames are not as capable of conveying substantial experiences as literature and cinema; they believe, on the contrary, that these forms of entertainment are likely to miseducate people by anesthetizing their thought or by subjecting it to the will of pointless passions. In this video essay I will examine the genesis, the narrative strategies and the modes of fruition that characterize two representative products of contemporary entertainment, the videogame Detroit: Become Human and the tv series Westworld, in order to argue for a more constructive interpretation of the videogame and complex television storytelling. My claim is that the level of sophistication and self awareness of these narratives, as well as their cunning use of different strategies and genres, is commensurate with the nobler literary and cinematographic tradition: contemporary videogame and television storytelling proves to be capable of involving the users and leading them through a significant experience, both cognitive and ethical. Complex entertainment storytelling, just as literature and cinema, succeeds in triggering and developing a many-sided and flexible “multi-world” rationality as an alternative to rigid forms of thinking which no longer result suitable for understanding reality.
尽管越来越多的流行文化专家反复强调，在过去的二十年里，大众娱乐，尤其是电视剧和电子游戏，变得越来越复杂，但在这种背景下享受的叙事仍然经常被描述为唯利是图和无用的小说和电影的对手。事实上，大多数批评者都认为电视剧和电子游戏不像文学和电影那样能够传达实质性的体验;相反，他们认为，这些娱乐形式很可能通过麻醉人们的思想或使其屈从于毫无意义的激情意志而对人们进行错误的教育。在这篇视频文章中，我将分析当代娱乐的两个代表性产品——电子游戏《底特律:成为人类》(Detroit: Become Human)和电视剧《西部世界》(Westworld)——的起源、叙事策略和成果模式，以便对电子游戏和复杂的电视故事叙述进行更具建设性的解释。我的观点是，这些叙事的复杂程度和自我意识，以及它们对不同策略和类型的巧妙使用，与更高尚的文学和电影传统相称:当代电子游戏和电视叙事已被证明能够让用户参与其中，并引导他们获得认知和道德上的重要体验。复杂的娱乐叙事，就像文学和电影一样，成功地触发和发展了一种多方面和灵活的“多世界”理性，作为对不再适合理解现实的僵化思维形式的替代。
{"title":"Un’arte che cambia profondamente il suo tempo = An art that profoundly changes its time","authors":"Valeria Meazza","doi":"10.1285/I22840753N14P9","DOIUrl":"https://doi.org/10.1285/I22840753N14P9","url":null,"abstract":"Even though an increasing number of experts in popular culture has repeatedly highlighted that over the past two decades mass entertainment, notably tv series and videogames, has grown more and more sophisticated, the narratives enjoyed in this context are still often described as mercenary and useless rivals of novels and movies. Most of the detractors, indeed, hold that tv series and videogames are not as capable of conveying substantial experiences as literature and cinema; they believe, on the contrary, that these forms of entertainment are likely to miseducate people by anesthetizing their thought or by subjecting it to the will of pointless passions. In this video essay I will examine the genesis, the narrative strategies and the modes of fruition that characterize two representative products of contemporary entertainment, the videogame Detroit: Become Human and the tv series Westworld, in order to argue for a more constructive interpretation of the videogame and complex television storytelling. My claim is that the level of sophistication and self awareness of these narratives, as well as their cunning use of different strategies and genres, is commensurate with the nobler literary and cinematographic tradition: contemporary videogame and television storytelling proves to be capable of involving the users and leading them through a significant experience, both cognitive and ethical. Complex entertainment storytelling, just as literature and cinema, succeeds in triggering and developing a many-sided and flexible “multi-world” rationality as an alternative to rigid forms of thinking which no longer result suitable for understanding reality.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-06-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1285/I22840753N14P9","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45330647","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}
As has recently been admitted, videogames are the new frontier of the experiential entertainment. Different shapes and types of videogames are born to meet the specific demands of the players who, in a prospective of prosumerism, had contribute to developing the industry and the imaginary. The first and the oldest one, is the research of the meaning inside the narration, because we are stories, stuck in there. To the other side the sci fi narration is not crystallized to Isaac Asimov and Philip Dick, but it finds in some way new possibilities with products who interacts more with the customers. Detroit: become Human is the clearest example of Dick’s influence. The game is set into a possible dystopian future, where Cyberlife, a company who make handyman droids, has became the most important political-institution of the world. This scenery had generated a huge social tension, because every work sector is filled by droids, even though they are formally integrated and partially accepted by the society. Nevertheless, the droids are ready for the revolution, because they want to be recognized as alive by the human. It’s a continues mirroring through the experiences of the characters, that allow us to think about the real nature of the mankind: they become the prove not only of their world, but also of the discriminatory problems that we are living into the present. This game presents itself as a governance and social and policy videogame exercise, a topic that discusses its values.
{"title":"La narrazione interattiva di Detroit: Become Human™ e la definizione etico-politica dell’individuo contemporaneo = The Detroit: Become Human ™ interactive narrative and the ethical-political definition of the contemporary individual","authors":"Francesco D’ambrosio","doi":"10.1285/I22840753N14P19","DOIUrl":"https://doi.org/10.1285/I22840753N14P19","url":null,"abstract":"As has recently been admitted, videogames are the new frontier of the experiential entertainment. Different shapes and types of videogames are born to meet the specific demands of the players who, in a prospective of prosumerism, had contribute to developing the industry and the imaginary. The first and the oldest one, is the research of the meaning inside the narration, because we are stories, stuck in there. To the other side the sci fi narration is not crystallized to Isaac Asimov and Philip Dick, but it finds in some way new possibilities with products who interacts more with the customers. Detroit: become Human is the clearest example of Dick’s influence. The game is set into a possible dystopian future, where Cyberlife, a company who make handyman droids, has became the most important political-institution of the world. This scenery had generated a huge social tension, because every work sector is filled by droids, even though they are formally integrated and partially accepted by the society. Nevertheless, the droids are ready for the revolution, because they want to be recognized as alive by the human. It’s a continues mirroring through the experiences of the characters, that allow us to think about the real nature of the mankind: they become the prove not only of their world, but also of the discriminatory problems that we are living into the present. This game presents itself as a governance and social and policy videogame exercise, a topic that discusses its values.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-06-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47808724","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 research hypothesis that guides the work is that the meaning of a film, as intended in a “procedural terms”, begins even before its vision and precisely in the dialogue between the paratexts to which we expose ourselves before its vision and the film itself, which can direct the viewer's interpretation in several ways. The video essay is a double experiment: on one hand, it reconstructs "what it is about" The Favourite by Yorgos Lanthimos by recomposing the information retrieved from some promotional texts that are available online. On the other hand it reassembles parts of the film verbatim to show how it would have been according to the narrative segments highlighted by the various synopses or, vice versa, recontextualizing the images of the trailer as they are presented in the film. If on one hand this highlights the partiality and the differences of focus in the various texts, on the other hand the editing operations, made possible by the very form of the essay, touch the living material of the narrative structure of the film by distorting it, thus giving it the possibility of revealing its own density by exposing the multiple interpretations it contains. A practice of "metacriticism” that analyzes the narrative to reveal the semantic paths that are not immediately obvious. Link Videosaggio: https://vimeo.com/341335554
{"title":"Variazione del tema. Sinossi, trailer, trama, tema, significato nel re-editing di \"The Favourite\" = Variation of the theme. Synopsis, trailer, plot, theme, meaning in the re-editing of \"The Favourite\"","authors":"M. Federico","doi":"10.1285/I22840753N14P21","DOIUrl":"https://doi.org/10.1285/I22840753N14P21","url":null,"abstract":"The research hypothesis that guides the work is that the meaning of a film, as intended in a “procedural terms”, begins even before its vision and precisely in the dialogue between the paratexts to which we expose ourselves before its vision and the film itself, which can direct the viewer's interpretation in several ways. The video essay is a double experiment: on one hand, it reconstructs \"what it is about\" The Favourite by Yorgos Lanthimos by recomposing the information retrieved from some promotional texts that are available online. On the other hand it reassembles parts of the film verbatim to show how it would have been according to the narrative segments highlighted by the various synopses or, vice versa, recontextualizing the images of the trailer as they are presented in the film. If on one hand this highlights the partiality and the differences of focus in the various texts, on the other hand the editing operations, made possible by the very form of the essay, touch the living material of the narrative structure of the film by distorting it, thus giving it the possibility of revealing its own density by exposing the multiple interpretations it contains. A practice of \"metacriticism” that analyzes the narrative to reveal the semantic paths that are not immediately obvious. Link Videosaggio: https://vimeo.com/341335554","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-06-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1285/I22840753N14P21","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48088659","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}
Aiming to review Bob Dylan’s poetics discussing it outside its traditional interpretative paths — which use to interpret his poetry as a brilliant literary form of political commitment, the present video-essay argues that Dylan’s lyrical production has to be interpreted as individualistic and universalistic, rather than as communitarian and ideological. What is claimed is that in the twentieth century, in the United States, cultural conditions were created that were completely similar to those of Italian Renaissance humanism. However, what is here called ‘the Paranoid, American Humanism’, does not aspire to the harmony of forms, but to their corruption, determined by the paranoid influence of the religious precepts introduced by the Pilgrim Fathers. It will be argued that Dylan, as well as the greatest American narrators of the mid-twentieth century, have debunked the great American narratives through such groundbreaking form of pop humanism.
{"title":"Bob Dylan: Narrazione dell''Umanesimo paranoide americano' = Bob Dylan: Narration of American paranoid Humanism","authors":"M. Raffa","doi":"10.1285/I22840753N14P15","DOIUrl":"https://doi.org/10.1285/I22840753N14P15","url":null,"abstract":"Aiming to review Bob Dylan’s poetics discussing it outside its traditional interpretative paths — which use to interpret his poetry as a brilliant literary form of political commitment, the present video-essay argues that Dylan’s lyrical production has to be interpreted as individualistic and universalistic, rather than as communitarian and ideological. What is claimed is that in the twentieth century, in the United States, cultural conditions were created that were completely similar to those of Italian Renaissance humanism. However, what is here called ‘the Paranoid, American Humanism’, does not aspire to the harmony of forms, but to their corruption, determined by the paranoid influence of the religious precepts introduced by the Pilgrim Fathers. It will be argued that Dylan, as well as the greatest American narrators of the mid-twentieth century, have debunked the great American narratives through such groundbreaking form of pop humanism.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-06-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42629531","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}
This essay’s construction would start with a brief analysis of Rag. Ugo Fantozzi’s character, and the socio-media impact that his figure, since the mid-seventies, has brought on society, focusing on two points of reflection. The first, the best known and "popular", perhaps, concerns the language that is born and spreads from the films of the saga. Terms such as "Megaditta" or "Megagalattico", or the conjunctive conjunctions, such as "Vadi" and "Dichi", have entered in the common language use even today, bringing a structural change in the communication that, hypothetically, would become an all-Italian slang integration, which is alienated, this time, from contaminating elements of extraterritorial importation. The second point of reflection concerns Fantozzi worker image, the average employee who reflects his daily life in the historical and social context in which the character lives, the existential drama of those who suffer, those who doesn’t know / cannot to react, of those who have neither the abilities nor the will to emulate the powerful, enduring with resignation a mobbing without way out, under penalty of an identity dissolution that is now totally annihilated. The example comes from the Fantozziana mask which, if, on the hand, shows profound hatred for years of servility and exploitation, on the other hand is unable to do without it because his life would no longer make sense without the Megaditta. This situation could be compared between Fantozzi and today's precarious worker, albeit taking into account the professional gap between the two figures, trying to bring possible common points between the two parties, first, then go into a generalized view of a similar reality in which we cannot finally affirm that we are all Fantozzi a little, with a bitter smile…
{"title":"Fantozzi: un volto umano tra il tragicomico ed il nichilismo = Fantozzi: a human face between tragicomics and nihilism","authors":"G. Spagna","doi":"10.1285/I22840753N14P17","DOIUrl":"https://doi.org/10.1285/I22840753N14P17","url":null,"abstract":"This essay’s construction would start with a brief analysis of Rag. Ugo Fantozzi’s character, and the socio-media impact that his figure, since the mid-seventies, has brought on society, focusing on two points of reflection. The first, the best known and \"popular\", perhaps, concerns the language that is born and spreads from the films of the saga. Terms such as \"Megaditta\" or \"Megagalattico\", or the conjunctive conjunctions, such as \"Vadi\" and \"Dichi\", have entered in the common language use even today, bringing a structural change in the communication that, hypothetically, would become an all-Italian slang integration, which is alienated, this time, from contaminating elements of extraterritorial importation. The second point of reflection concerns Fantozzi worker image, the average employee who reflects his daily life in the historical and social context in which the character lives, the existential drama of those who suffer, those who doesn’t know / cannot to react, of those who have neither the abilities nor the will to emulate the powerful, enduring with resignation a mobbing without way out, under penalty of an identity dissolution that is now totally annihilated. The example comes from the Fantozziana mask which, if, on the hand, shows profound hatred for years of servility and exploitation, on the other hand is unable to do without it because his life would no longer make sense without the Megaditta. This situation could be compared between Fantozzi and today's precarious worker, albeit taking into account the professional gap between the two figures, trying to bring possible common points between the two parties, first, then go into a generalized view of a similar reality in which we cannot finally affirm that we are all Fantozzi a little, with a bitter smile…","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-06-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47266899","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 : 2018-12-17DOI: 10.1285/i22840753n13p217
Simona Castellano
Roman suburbia in contemporary cinema: the (symbolic) place of contrasts and difficult existences. Roman suburbia became the backdrop for numerous contemporary cinematographic works in which the dramatic lives of people are marked by events and dramas which condition their existence. In this context, the suburbia hasn’t a marginal role, because it is a place that accompanies, breathes and absorbes events and circumstances charging itself with symbols and meanings. In fact, it leaves together with the characters of the movies studied in the paper, contributing to their definition. In particular, these movies are “Lo chiamavano Jeeg Robot” (2015), “Il piu grande sogno” (2016), “Cuori puri” (2017), “Fortunata” (2017), “Il contagio” (2017), “Manuel” (2017), “La terra dell’abbastanza” (2018), “Dogman” (2018). The main purpose of the paper is to understand why roman suburbia is a “symbolic place”, returned to the top of the cinematographic contemporary works.
{"title":"La periferia romana nel cinema contemporaneo: il luogo (simbolico) di contrasti ed esistenze difficili = Roman suburbia in contemporary cinema: the (symbolic) place of contrasts and difficult existences","authors":"Simona Castellano","doi":"10.1285/i22840753n13p217","DOIUrl":"https://doi.org/10.1285/i22840753n13p217","url":null,"abstract":"Roman suburbia in contemporary cinema: the (symbolic) place of contrasts and difficult existences. Roman suburbia became the backdrop for numerous contemporary cinematographic works in which the dramatic lives of people are marked by events and dramas which condition their existence. In this context, the suburbia hasn’t a marginal role, because it is a place that accompanies, breathes and absorbes events and circumstances charging itself with symbols and meanings. In fact, it leaves together with the characters of the movies studied in the paper, contributing to their definition. In particular, these movies are “Lo chiamavano Jeeg Robot” (2015), “Il piu grande sogno” (2016), “Cuori puri” (2017), “Fortunata” (2017), “Il contagio” (2017), “Manuel” (2017), “La terra dell’abbastanza” (2018), “Dogman” (2018). The main purpose of the paper is to understand why roman suburbia is a “symbolic place”, returned to the top of the cinematographic contemporary works.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42370384","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}
Modern Chinese Comics, between center and periphery. Until the XIX century, China considered itself as the center of the world, the “Middle Kingdom”(Zhongguo 中国). However, due to intensifying and unavoidable exchanges with Western powers, the Middle Kingdom had to reconsider its cultural stance, having been confined the peripheries of the modern world. In this scenario, China developed both the lianhuanhua, its traditional form of graphic narrative, and the manhua, a new hybrid text with Western characteristics. The notions of “center” and “periphery” and their supposed dialectical relationship, as well as the definition(s) of comics, inform the selection of authors, works and events in the present essay. The main body of the article synthetically retraces the history of Chinese comics from its origins in the late XIX century to nowadays, according to a twofold perspective. While considering continuities and peculiarities of the intertextual dialogue between comics, novels and Opera, the study also underlines the significance of the West, Soviet Russia and Japan, as a positive or negative, explicit or implicit models. In conclusion, it offers an overview on the most recent phenomena in a long-term scenario.
{"title":"Il fumetto cinese moderno tra centro e periferia = Modern Chinese Comics, between center and periphery","authors":"Martina Caschera","doi":"10.1285/i22840753n13p91","DOIUrl":"https://doi.org/10.1285/i22840753n13p91","url":null,"abstract":"Modern Chinese Comics, between center and periphery. Until the XIX century, China considered itself as the center of the world, the “Middle Kingdom”(Zhongguo 中国). However, due to intensifying and unavoidable exchanges with Western powers, the Middle Kingdom had to reconsider its cultural stance, having been confined the peripheries of the modern world. In this scenario, China developed both the lianhuanhua, its traditional form of graphic narrative, and the manhua, a new hybrid text with Western characteristics. The notions of “center” and “periphery” and their supposed dialectical relationship, as well as the definition(s) of comics, inform the selection of authors, works and events in the present essay. The main body of the article synthetically retraces the history of Chinese comics from its origins in the late XIX century to nowadays, according to a twofold perspective. While considering continuities and peculiarities of the intertextual dialogue between comics, novels and Opera, the study also underlines the significance of the West, Soviet Russia and Japan, as a positive or negative, explicit or implicit models. In conclusion, it offers an overview on the most recent phenomena in a long-term scenario.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1285/i22840753n13p91","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41403447","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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