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Andrea Bellavita

Libri dell'autore

La Dtt e l’esperienza interattiva digital
formato: Articolo | COMUNICAZIONI SOCIALI - 2008 - 1. Incipit digitale. L'avvio della televisione digitale terrestre in Italia tra discorsi, prodotti e consumi
Anno: 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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Il film di famiglia come set analitico digital
formato: Articolo | COMUNICAZIONI SOCIALI - 2005 - 3. Il metodo e la passione. Cinema amatoriale e film di famiglia in Italia
Anno: 2005
This paper proposes the application of psychoanalytic categories to family film. In particular it seeks to reconstruct how, within the text understood as a psychic device and filmic mechanism, it is possible to isolate and describe certain structures of ordering the representation and interpretation of reality. These structures would assume the character of an Ordering Gaze, capable of (paradoxically) mystifying reality at the very moment when they subject it to a memorable fixedness, and can be assimilated to Lacan’s concept of the ‘Name of the Father’. Starting from the recognition of the dialogue with these Names of the Father, it is possible to construct a negotiated relationship between the family film and the non-family viewer.
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La tecnologia come costrutto simbolico digital
formato: Articolo | COMUNICAZIONI SOCIALI - 2004 - 1. Civiltà delle macchine. Il cinema italiano e le sue tecnologie
Anno: 2004
The article seeks to analyse the relations holding between the application of psychoanalysis to the filmic text as a hermeneutic discipline and the role played by technology (as technology of representation rather than as represented technology) within the analysis and theory of film. The proposal is thus to consider technology as a symbolic construct. Reflection starts out from pioneering cinema psychocriticism (carried out around the mid-1970s in a geographically French and culturally Lacanian area), which always considered the dispositif and the technological appareil as an a-historical function of film production and performance. Continuing along the path suggested by Lacanian psychoanalysis, and endeavouring to shift attention from reality (as impression de réalité) to the Real (as Lacanian register of the unrepresentable), the study will propose a ‘historic wager’, that is to say, it will stake the analysis on a shift in perspective that can restore to technology its dimension of diachronic evolution and its setting within the contemporary socio-cultural context. Through the perspective of the embodied eye, the ‘historic wager’ leads to a ‘new illusion’: that of the spectators, cherishing the illusion that they see themselves watching and that they inhabit the filmic space (in its scopic dimension) of the representation of reality and the anaesthetization of the Real.
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Il tempo riappropriato
Tempo e palinsesto della televisione satellitare
digital
formato: Articolo | COMUNICAZIONI SOCIALI - 2003 - 1. Attraversamenti. Spazialità e temporalità nei media contemporanei
Anno: 2003
This essay highlights some of the central issues of a study focused on the relation between social time and television time within the broadcasting schedule of satellite television in Italy. Analysing the organisation of the broadcasting schedule can be a useful cognitive tool not only to investigate the nature of satellite television, but also to examine implicit spectator model. However, satellite television has some characteristics that imply the need to adopt different analytical categories compared to those used for general broadcasting: the essentially thematic range of programmes, the nature of multiprogramming and the general absence of commercials redefine the relation between television time and the temporal framework of social use. The classical dichotomies are thus redefined, introducing concepts such as spiral flow, flow of appointments, feast, ‘ferialisation’. The essay then proposes two new interpretive categories. With the paradigm of reappropriation of time, the usage patterns typical of satellite television are identified: for example, an organisation of viewing time based on the constant multiplicity of the offer, the availability of a time no longer organised by target, the increasing offer of non-media social and communicative events. Reappropriated time thus highlights the change of rhythm of satellite television: the study of the rhythm of the broadcasting schedule represents a new horizon for analysis.
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