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.

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.

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.