Mauro Buzzi
Author's titles
Lezione di fisica del linguaggio in 9 m2
digital
Year:
2011
I titoli di testa sono brevi, in sovraimpressione sull‟immagine di un muro. A introdurci nel film compare una didascalia che informa sul luogo d‟ambientazione dell‟intera opera: “Prison des Baumettes Marseille”.
Il giradischi di Adriana. Pietrangeli e l'uso della canzone pop in «Io la conoscevo bene»
digital
Year:
2011
Il periodo a cavallo tra i decenni degli anni Cinquanta e Sessanta apporta profondi cambiamenti al paesaggio sonoro del Paese. Tra le molte figure che nel cinema italiano del tempo si interessano a questo fenomeno un ruolo di riguardo spetta ad Antonio Pietrangeli, il quale peraltro elabora già nel 1961 la realizzazione del film Il giradischi che, per non note vicende produttive, vedrà la luce solo nel 1965 con il mutato titolo di Io la conoscevo bene. Tale pellicola rappresenta probabilmente, all’interno del cinema italiano coevo, il migliore esempio di costruzione di senso ed affetti tramite il ricorso all’universo musicale, in virtù della specifica importanza che la popular music ivi assolve. A tale processo si accompagna una significativa riflessione attorno agli inediti modelli di utilizzo dei prodotti mediali sonori, i quali anzitutto rappresentano uno specchio di un nuovo stile di vita, improntato al consumismo, che sta radicalmente cambiando il volto dell’Italia. The period between the decades of the fifties and sixties brings profound changes to the soundscape of the Country. Among the many figures in the Italian cinema of the time are interested in a role of this phenomenon Antonio Pietrangeli has a leading role. In fact, he also starts in 1961 the making of the film Il giradischi (The turntable) that, for unknown production events, will only see the light in 1965, with its title changed in Io la conoscevo bene (I knew her well). This film is probably, within the contemporary Italian cinema, the best example of building of sense and affection through the use of the music universe, by virtue of the particular importance that the popular music has in it. In this process, accompanied by a significant reflection on the new models of use of the sound media products, which are primarily a reflection of a new lifestyle, characterized by consumerism, which is radically changing the character of Italy.
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Ryoji Ikeda and the spectator’s audio-visual immersion in the abstract reality of code
digital
Year:
2010
The following paper is a case study and starts from Ryoji Ikeda’s creation of Datamatics 2.0. It was first presented to the public on 29 October 2007, at the Centre Pompidou in Paris. I believe that the subject studied lays itself open to some short remarks on the wide core of themes which, directly or not, revolve around the production of the Japanese artist...
La traccia nel giallo: orma del delitto, trompe-l’oeil, forma di resistenza all’entropia
digital
Year:
2010
RÉSUMÉ
La pratique de suivre les traces, comme la recherche des preuves ou des indices sont devenues tout au long
du XXe siècle, tòpoi largement utilisés dans les productions culturelles à une variété de niveaux. D’une
manière privilégiée elles sont devenues le coeur battant de ce genre trans-médial, que nous définissons comme
‘giallo’ (Roman policier) en Italie. Dans ce contexte, le statut accordé à la trace devient un des motifs fondamentaux
de la construction narrative. Nous reconnaissons trois événements majeurs. La trace comme
empreinte du délit, tout en reconnaissant dans la même le nécessaire point final d’un chemin dont la reconstruction
est toujours possible. La figure de l’enquêteur coïncide alors avec celle du scientifique positiviste. A
celui-ci se superpose un nouveau genre de détective qui, faisant face à une réalité difficile se trouve souvent
à devoir parier sur ses propres croyances et à résoudre des cas, surtout à travers ses actions. La trace ressemble
dans cet esprit à un trompe-l’oeil, une station de chemin consacré à se perdre plutôt qu’à reconstruire une
réalité déjà inaccessible. L’idée de trace comme forme de résistance à l’entropie s’oppose à une esthétique de
l’incompréhensibilité du réel. L’objectif de l’enquête n’est plus le résultat, mais l’enquête elle-même, comme
condition de défi permanent à l’indistinction. L’enquêteur est dans ce cas l’homme, en quête continuelle et
infinie du sens de sa propre vie.
SUMMARY
The practice of following traces and the searching for evidences or clues have become, throughout the twentieth
century, widely used tòpoi in cultural productions in a variety of levels. In a privileged way they have become
the heart of that trans-medial genre, which we define ‘giallo’ (crime novel) in Italy. In this context, the statute
accorded to the trace becomes a fundamental theme for the narrative construction. We recognize three major
occurrences. The trace is the footprint of a crime, recognizing the need in the same the necessary arrival point of
a path of which reconstruction is always possible. The investigator figure coincides with that of positivist scientist.
A new figure of detective is superimposing to him, facing an often misleading reality, and having to bet on
his beliefs and solve cases, especially through action. In this view, the trace is felt as a trompe l’oeil, a station of
a path devoted more to losing itself than to trying to rebuild an already inaccessible reality. Faced with the aesthetic
of unintelligibility of reality, the idea of trace opposes as a form of resistance to entropy. The core of the
investigation is not its result, but the investigation itself, as a condition of continuous challenge to indistinctness.
In this case the investigator is the man in continuous and infinite search of the meaning of his own life.
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