Tutti i libri editi da Vita e Pensiero - libri Comunicazioni Sociali Vita e Pensiero (7)

Vita e Pensiero

Between ‘first person shot’ and ‘classical hollywood style’: the igen’s viewing experience in contemporary cinema digital
format: Article | COMUNICAZIONI SOCIALI - 2020 - 1. Legacy Media Reloaded
Year: 2020
In this article I will analyse three case studies – Chronicle (Josh Trank, 2012), Unfriended (Levan Gabriadze, 2014) and The Visit (M. Night Shyamalan, 2015) – starting from a premise and posing a question. The premise: the gaze on the world of the so-called iGeneration (or post-millennials) is more and more mediated by technical proxies – portable devices, wearable technologies, virtual reality – which redefine viewing paradigms and production/consumption/sharing models of moving images. Our sensorial experience is indeed more and more mediated by the software as cultural interface which keeps on evolving, and less and less by ‘machines’ as hardware...
€ 6.00
Introduction digital
format: Article | COMUNICAZIONI SOCIALI - 2019 - 3. Writing for Cinema, Writing for Television
Year: 2019
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Indice ragionato 2019 digital
format: Article | COMUNICAZIONI SOCIALI - 2019 - 3. Writing for Cinema, Writing for Television
Year: 2019
€ 6.00
From Television to Cinema and back to Television Again (25 Years Later): Twin Peaks’ Ambivalent Scriptwriting Approach digital
format: Article | COMUNICAZIONI SOCIALI - 2019 - 3. Writing for Cinema, Writing for Television
Year: 2019
While the tension between cinematic and television storytelling may be explored from a variety of perspectives, I am going to focus on the particular experience of Twin Peaks: Fire Walk with Me (David Lynch, USA-France, 1992, 135 min), the cinematic extension of the cult multi-tiered narrative television series. Perceived mostly as an excessively celebrated television movie at the time of its release, more recently Fire Walk with Me has been reappraised, its aesthetic value and narrative connections with the TV show having been accurately reassessed on the occasion of the 2017 revival...
€ 6.00
Caught in the Second Act: The Relationship between Film and the TV Sitcom digital
format: Article | COMUNICAZIONI SOCIALI - 2019 - 3. Writing for Cinema, Writing for Television
Year: 2019
While its narrative construction is essentially two acts, the sitcom conforms to the principles of dramatic writing posited by Aristotle: a thematically unified mode of drama centered on a character whose actions and interactions produce a plot that is comic in nature. In the sitcom, an incident threatens the disruption of the status quo that is expelled and, more importantly, the relationships between characters, including their conflicts are unaltered – the narrative is closed...
€ 6.00
Creative Strategies in the TV Adaptation of Fargo: Narrative and Aesthetic Features digital
format: Article | COMUNICAZIONI SOCIALI - 2019 - 3. Writing for Cinema, Writing for Television
Year: 2019
Fargo (2014), the TV series created by Noah Hawley and executive-produced by the Coen brothers, constitutes both a prime example of a recent trend in US quality TV and a successful adaptation of a film text, the 1996 movie of the same title made by Joel and Ethan Coen. It is our understanding that the achievement of the TV series springs from a creative design that allows the viewer to recognize in it an unmistakable resemblance with its predecessor, while at the same time becoming an enjoyable narrative in its own right, as an autonomous text. Thus, fans of the film can take pleasure in the recurring thematic, tonal, aesthetic and narrative links that the series establishes with the movie, and at the same time be captivated by a brilliant new plot and characters...
€ 6.00
The Italian Storytelling Approach to TV Seriality Compared to the US Method. A Case Study digital
format: Article | COMUNICAZIONI SOCIALI - 2019 - 3. Writing for Cinema, Writing for Television
Year: 01/2020
Each industry has its own way of crafting stories for TV. Different organizational models in the task of breaking down stories; the influence of titles which have been successful in a particular market; the unique viewing attitudes of a domestic audience… all these factors make screenwriters adopt a combination of writing techniques peculiar to each country. Even if the US writing school has imposed itself as a universal standard – the “orthodoxy” – deviations from its lessons – slight or significant, depending on the case – define the originality of an industry’s storytelling...
€ 6.00
Adapting Pippi Longstocking: The 1969 Television Series Moves from Sweden to Italy digital
format: Article | COMUNICAZIONI SOCIALI - 2019 - 3. Writing for Cinema, Writing for Television
Year: 2019
Pippi Longstocking is a great classic of children’s literature. Written in 1945 by the Swedish writer Astrid Lindgren, the novel was published in Italy only in 1958, described as a “permissive and anti-authoritarian book for children”. In fact, while the book soon became a great favourite with young readers, teachers and parents in Sweden, in countries with a different view of parental authority, like Italy, Pippi was naturally perceived as a challenge...
€ 6.00
Identity, Time and Free Will in Stories. A Poetical Study on the TV Series Dark digital
format: Article | COMUNICAZIONI SOCIALI - 2019 - 3. Writing for Cinema, Writing for Television
Year: 2019
This article works on the confluence of time travel and identity in stories, under the perspective of Paul Ricoeur’s understanding of the concept of “interior time”, that he takes from Augustine. The study deals with the first season of the German TV series Dark (Netflix, 2017). The “time travel” topic has been frequent in the movies, as also its development in plots of duality of lives or in films that affect the own identity. In Dark, however, the time travel arises in the confluence between freedom and identity, which provides an especially profound narrative analysis...
€ 6.00
Illuminating the Inciting Incident and the Lessons Learned along the Journey digital
format: Article | COMUNICAZIONI SOCIALI - 2019 - 3. Writing for Cinema, Writing for Television
Year: 2019
We analyze what some of the main screenwriting experts say about the inciting incident (also called inciting event, catalyst, big hook, among other terms) underlining the limitations of the various approaches and trying to arrive at a new view of the topic, which can apply to both cinema and television...
€ 6.00
The Leftovers (Reheated): Examining the Layering of Story and Character Archetypes in the Television Drama Series: The Leftovers digital
format: Article | COMUNICAZIONI SOCIALI - 2019 - 3. Writing for Cinema, Writing for Television
Year: 2019
We are now in an era where fictional television storytelling is a dominant and commanding screen form, which has perhaps finally evaded its historical position as secondary to cinema. There has been a significant influx of long-form fictional content to the small screen internationally since HBO series such as Sex and The City, Six Feet Under and The Sopranos heralded a shift in the television world order. Yet critics and scholars have been grappling with the terms through which they discuss the intricacies of this long form craft, shifting between notions of contemporary, complex and the more subjective; quality. ..
€ 6.00

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Anno: 2021 - n. 2

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