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Textual Innovation of the Audiovisual Language in Fashion Film newdigital
format: Articolo | COMUNICAZIONI SOCIALI - 2017 - 1. FASHIONATING IMAGES Audiovisual Media Studies Meet Fashion | anno: 2017 | numero: 1
Year: 2017
In 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...
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Sincronizzati con la società digitale: nuove tendenze della comunicazione sociale contemporanea digital
format: Articolo | COMUNICAZIONI SOCIALI - 2016 - 1. Snapshot Culture. The Photographic Experience in the Post-Medium Age | anno: 2016 | numero: 1
Year: 2016
This paper discusses various points about the emerging forms of social communication and about the challenges to be faced because of the endless changes in digital society regarding web developments and the massive use of social media. Besides surveying some crucial aspects of the literature on social communication, including tentative attempts to define its boundaries, we focus on its role and its languages in the changing social and media context...
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‘Fluid Spectator-Tourists’: Innovative Televisual Technologies, Global Audiences and the 2015 Cricket World Cup digital
format: Articolo | COMUNICAZIONI SOCIALI - 2015 - 2. Tv Genres in the Age of Abundance | anno: 2015 | numero: 2
Year: 2015
By continuously integrating the latest new-media advances while still predominantly relying on older broadcast models, contemporary mediated sport affords an interesting paradox. That is, while most well-known sports provide “digitized” processes, platforms and applications, these technologies primarily complement the televised coverage. Thus, despite assumptions of a decline in broadcast media, the televisual representation of sport often remains paramount in terms of viewership, circulation (or its online replication) and broadcasting rights. This is especially true for “mega” sporting events that generate widespread interest and often attract large, diverse audiences to their live global telecasts outside of normal viewing hours. My article considers these contemporary trends through a specific examination of the 2015 Cricket World Cup (CWC) and its global televised representations.
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Creating female audiences: The decline of the ‘girly’ heroine and the return of the formidable ‘femme’ digital
format: Articolo | COMUNICAZIONI SOCIALI - 2014 - 3. (En)gendered creativity. Actors Agencies Artifacts | anno: 2014 | numero: 3
Year: 2014
Although cinema is routinely classified as a creative industry in the twenty-first century, countering its designation as a “business, pure and simple” at the beginning of the twentieth, Hollywood productions are increasingly determined by the commercial imperatives of the conglomerates and the domination of young males as the most profitable audience within this sector...
LiveMi: reimaging Milan. Popular music policies and urban regeneration digital
format: Articolo | COMUNICAZIONI SOCIALI - 2011 - CSonline 5. Conferences. Dottorato di ricerca in Culture della Comunicazione, Dipartimento di Scienze della Comunicazione e dello Spettacolo. | anno: 2011 | numero: CSonline5
Year: 2011
The paper will try to discuss the pilot study conducted at the beginning of my PhD research project about live music in Milan...
Emerging topics in the research on digital audiences and participation. An agenda for increasing research efforts digital
format: Articolo | COMUNICAZIONI SOCIALI - 2013 - 3. The responsibility of knowledge. The values of critique and social relevance in research on communication and culture | anno: 2013 | numero: 3
Year: 2013
This article discusses the many implications of participation in a cross-media scenario where...
‘Outdoor performance’, ovvero forme ed estetiche della comunicazione esterna. Un’analisi digital
format: Articolo | COMUNICAZIONI SOCIALI - 2006 - 3. Spazi sensibili. Pubblicità, comunicazione e ambiente urbano | anno: 2006 | numero: 3
Year: 2006
This paper analyzes some forms of outdoor communication through the interpretative lens of performance, starting from the pre-assumption that, partly thanks to artistic activity and to the relative autonomy, it is possible to observe the construction of a communicative form diffused over the contexts of media production and of social expression practices. Beginning with a definition of performance as communicative practice – from its ritual origins to avant-garde and present-day artistic experimentations – the paper tries to demonstrate that performative artistic manifestations can be considered the expressive mold of many forms of outdoor communication, eventually reaching the definition – for descriptive purposes – of a small outdoor performance typology, referring to specific exemplificative cases. This typology includes cases involving the use of interactional dynamic between performers and participant spectators; the forms of festive performance, related to the organization of events; the so-called brand installations; and also cases featuring an active and creative involvement of the consumer/performer. A dimension which should be seen as a hook towards what can be considered, starting from performance, as a departure point for new relational dynamics between production and consumption, while also being related to the emerging fields of outdoor communication represented by technological networks and the world wide web.
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Oltre la Comunità Virtuale digital
format: Articolo | COMUNICAZIONI SOCIALI - 2007 - 3. Comunità in atto. Conflitti globali, interazioni locali, drammaturgie sociali | anno: 2007 | numero: 3
Year: 2007
In the course of the 1990s, the academic reflection on the communication mediated by the computer has substantially set the theme of sociability and of the relations in the network in terms of community: it is the theme of virtual community, a theme which is strongly marked by a techno-utopic ideology. In the first place, this article covers the history of Internet Studies, in an attempt to identify the detailed rules and guidelines which determined the centrality of the subject of virtual community, indicating among these, in particular, the implicit space metaphor with which the researchers thought about the network in the course of the 1990s. Secondly, it shows how, despite the crisis of the paradigm centered on this metaphor, and despite several attempts, the Community approach has not been entirely abandoned. The virtual community continues to build, often in an implicit way, a model in the light of which we can read – and assess – the forms of social life, and the relations taking life, even through the network, with the risk of not to seizing the specificity and the complexity of new emerging events.
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La Dtt e l’esperienza interattiva digital
format: Articolo | COMUNICAZIONI SOCIALI - 2008 - 1. Incipit digitale. L'avvio della televisione digitale terrestre in Italia tra discorsi, prodotti e consumi | anno: 2008 | numero: 1
Year: 2008
The interactive experience is a kind of meta-experience or multiple experiences: it implies that the viewer not only perceives the text, but interacts with it; he is involved in doing, in involving previous, present knowledge and competence, whether media or extra-media related. It is the place in which, even before the medium text, the viewer himself must guarantee a ‘return path’, an active, not a passive dimension of experience. For this reason interactivity has been put at the center of the media and social discourses on Dtt. The essay gives the results of the analysis of the content and organization of the products offered by Dtt program schedules in the years 2005 and 2006, focalizing its attention on the interactive experience. It is a socio-semiotic analysis of the text within its socio-cultural context, which allowed understanding what the Dtt text inherited from the previous television. The analysis also allowed understanding how it translates the user’s knowledge and competences about the technological means within the new media environment. The analysis of the interactivity forms offered by Dtt was carried out on three main interpretation axis: the typology of the interactive service (allowing the distinction of Enhanced TV; Magazine/Portal TV; TGovernment and T-Business models); the content of the information conveyed by the interactive service (distinguished between the peculiarity of the television medium or of the media and extra-media external system); the user’s permanence or leave with respect to the television medium (in which can be distinguished permanent interactive forms within the ‘closed’ Dtt system and forms of leave from the system toward the real world). The scenery emerging is characterized by a lack (or scarcity) of peculiarity of the medium; by an interactivity which seems to follow extra or old-television models and finds it difficult to create new ones; by the coexistence of numerous models which are different from each other but not necessarily alternative. The evolution opportunities are: the definition of a peculiar model of the medium, expressing characteristics of difference with respect to the existing television systems (analogical via ether and satellite digital); or the creation of a permanent koiné, in which the hybridization of the models and their coexistence increases service complexity (articulated and recognizable on the basis of ever different relevance criteria), with respect to its homogeneity.
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Rootcasting. I discorsi in rete sulle pratiche di condivisione dal basso digital
format: Articolo | COMUNICAZIONI SOCIALI - 2008 - 3. Il dito e la luna. Rappresentazioni mediali e costruzione sociale della realtà | anno: 2008 | numero: 3
Year: 2008
The article proposes a research on the network places in which the discourse related to the passage of video and audio contents develops through various platforms and formats. The research concentrates on the typology of discourses and practices, on the places of exchange of information and products, on the typology of the involved subjects and their functions, on the finality of this exchange. The emerging scenery – even if not really exhaustive – finds out a strong complexity, which seems to follow the ‘RootCasting’ logics, a spontaneous but organic mechanism of various practices which activate distribution and consumption modalities which are peculiar, alternative to the ‘circular emission’ or Broadcasting. Within this paradigm, it is possible to recognize some central knot: the first concerns the fact that the discourse orientates where there is more necessity to understand and learn: the information flows among the subjects to transmit more consumption forms, the way to realize them and the materials to be consumed (download how to do it, what to download). The second is related to the extraordinary vitality of communities, whose practices can be reduced to the ‘exchange’ which is an end in itself.
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Variazioni di mondo. Esercizi di stile seriale nel telefilm contemporaneo digital
format: Articolo | COMUNICAZIONI SOCIALI - 2009 - 1. Arredo di serie. I mondi possibili della serialità televisiva americana | anno: 2009 | numero: 1
Year: 2009
The link between standardization and variation is that of the fundamental functioning mechanisms of serials. Analyzing the historical development of American TV series, we can notice how it finds a codified and steady balance in the forms of series (drama, and comedy) and of serial (soap opera and prime-time soap). This concretely results in the building of a recurrent world, immediately recognizable, characterized by representative and narrative constants. The advent of new text forms, such as the serialized series, linked to the second golden age, and become a mainstream in the last decade, brings forth the use of variation as a tool for a deeper and very close communication relation between implicit author and model spectator. The essay hypotheses that the most frequent form of variation in contemporary American serial TV could be defined «world variation »: a highly reflexive style exercise, made on the momentarily transformation of the diegetic universe of the series. The essay hypotheses therefore a first attempt of «world variation» typology, starting from some special episodes from contemporary series: Buffy, Lost, The Simpsons, Scrubs, indicating some more research paths in the text analysis, but also in the study of production (the emerging figure of the author-creator as origin/ source of the «world variation») and consumption (the fandom audience as privileged addressee of the style exercises linked to the variations).
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L’influenza della mappa e il mondo come ‘flu swine’. Tracce di virus. O del virus come traccia digital
format: Articolo | COMUNICAZIONI SOCIALI - 2010 - 1. Lasciare tracce, essere tracciati | anno: 2010 | numero: 1
Year: 2010
RÉSUMÉ Cet article vise à étudier la nature d’un objet social complexe: un plan basé sur le Web produite ces derniers mois afin de suivre l’évolution d’une maladie infectieuse, connue sous le nom de grippe porcine. Le circuit des signes et des événements que la carte a dessiné, le cycle de contacts web générés par la peur de la contagion, les modes des discours, sont à l’étude comme processus et discours, pratique scientifique et trace de socialisation, émersion d’une documentation faite d’intentions et de réactions, de questions et de résultats. D’intention qui nous tracent et de traces que nous suivons comme des panneaux de signalisation. De scènes où la vraie carte est nourrie et nourrit à son tour, l’imaginaire que techno science, cinéma, science-fiction ont produit pour nous, s’imposant comme mode d’emploi du monde. SUMMARY This essay aims at investigating the nature of a complex object: a web-based map produced in recent months in order to trace the evolution of an infectious disease, known as swine flu. The circuit of signs and events that the map has drawn, the cycle of web contacts generated by the fear of contagion, the patterns of the discourse, are being investigated as a process and discourse, scientific practice and traces of socialization, the emerging of a documents made of intentions and feedbacks, of queries and results. It is made of intents that characterize us and of traces that we follow as traffic signs. Scenes of reality in which the map is fed and feeds, in turn, imaginary that techno-science, movies, science fiction have produced for us, establishing themselves as the world operating instructions.
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