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{"work":{"id":7288556,"created_at":"2014-06-07T23:18:44.994-07:00","from_world_paper_id":null,"updated_at":"2024-11-12T03:29:29.638-08:00","_data":{"more_info":"In: A. Catolfi, F. Giordano (a cura di), L'immagine videoludica, Napoli, Ipermedium, in corso di pubblicazione","grobid_abstract":"Come osservato di recente da Peppino Ortoleva, «negli ultimi decenni lo sviluppo di nuove tecnologie, la riorganizzazione del tempo della vita e del lavoro e altri fattori culturali meno visibili hanno determinato alcuni significativi cambiamenti storici nella sfera tradizionalmente separata del ludico», 1 e nel suo rapporto con la realtà sociale. Questi cambiamenti sono andati ben oltre la (pur) straordinaria diffusione socio-economica del videogame -divenuto ormai il principale esponente dell'intrattenimento audiovisivo per alcune fasce di pubblico -, ma si sono declinati anche nel progressivo \"sconfinamento\" del gioco all'interno di contesti solitamente non-ludici. «I confini tra gioco e realtà -sottolinea infatti Ortoleva -, sono stati ridefiniti in modo tale da includere aspetti della vita sociale che [prima] sembravano essere estranei a ogni attività ludica», 2 e dove anzi «la sua presenza sarebbe apparsa irriverente o fuori luogo fino a qualche anno fa». 3 Secondo lo studioso, tale sconfinamento ha generato «un'ampia area grigia, una zona liminale tra il gioco vero e proprio e la vita reale» 4 in cui le categorie di \"ludico\" e \"serio\" si intrecciano e reinquadrano continuamente a vicenda. Un caso emblematico (sin dal 1","grobid_abstract_attachment_id":"41008620"},"document_type":"paper","pre_hit_view_count_baseline":null,"quality":"high","language":"it","title":"La ludicizzazione del testo filmico, appunti sparsi","broadcastable":true,"draft":null,"has_indexable_attachment":true,"indexable":true}}["work"]; window.loswp.workCoauthors = [2898802]; window.loswp.locale = "en"; window.loswp.countryCode = "SG"; window.loswp.cwvAbTestBucket = ""; window.loswp.designVariant = "ds_vanilla"; window.loswp.fullPageMobileSutdModalVariant = "full_page_mobile_sutd_modal"; window.loswp.useOptimizedScribd4genScript = false; window.loswp.appleClientId = 'edu.academia.applesignon';</script><script defer="" src="https://accounts.google.com/gsi/client"></script><div class="ds-loswp-container"><div class="ds-work-card--grid-container"><div class="ds-work-card--container js-loswp-work-card"><div class="ds-work-card--cover"><div class="ds-work-cover--wrapper"><div class="ds-work-cover--container"><button class="ds-work-cover--clickable js-swp-download-button" data-signup-modal="{"location":"swp-splash-paper-cover","attachmentId":41008620,"attachmentType":"pdf"}"><img alt="First page of “La ludicizzazione del testo filmico, appunti sparsi”" class="ds-work-cover--cover-thumbnail" src="https://0.academia-photos.com/attachment_thumbnails/41008620/mini_magick20190220-15167-rudogu.png?1550656220" /><img alt="PDF Icon" class="ds-work-cover--file-icon" src="//a.academia-assets.com/images/single_work_splash/adobe_icon.svg" /><div class="ds-work-cover--hover-container"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span><p>Download Free PDF</p></div><div class="ds-work-cover--ribbon-container">Download Free PDF</div><div class="ds-work-cover--ribbon-triangle"></div></button></div></div></div><div class="ds-work-card--work-information"><h1 class="ds-work-card--work-title">La ludicizzazione del testo filmico, appunti sparsi</h1><div class="ds-work-card--work-authors ds-work-card--detail"><a class="ds-work-card--author js-wsj-grid-card-author ds2-5-body-md ds2-5-body-link" data-author-id="2898802" href="https://uniba-it.academia.edu/FedericoZecca"><img alt="Profile image of Federico Zecca" class="ds-work-card--author-avatar" src="https://0.academia-photos.com/2898802/957769/1512023/s65_federico.zecca.png" />Federico Zecca</a></div><div class="ds-work-card--detail"></div><p class="ds-work-card--work-abstract ds-work-card--detail ds2-5-body-md">Come osservato di recente da Peppino Ortoleva, «negli ultimi decenni lo sviluppo di nuove tecnologie, la riorganizzazione del tempo della vita e del lavoro e altri fattori culturali meno visibili hanno determinato alcuni significativi cambiamenti storici nella sfera tradizionalmente separata del ludico», 1 e nel suo rapporto con la realtà sociale. Questi cambiamenti sono andati ben oltre la (pur) straordinaria diffusione socio-economica del videogame -divenuto ormai il principale esponente dell'intrattenimento audiovisivo per alcune fasce di pubblico -, ma si sono declinati anche nel progressivo "sconfinamento" del gioco all'interno di contesti solitamente non-ludici. «I confini tra gioco e realtà -sottolinea infatti Ortoleva -, sono stati ridefiniti in modo tale da includere aspetti della vita sociale che [prima] sembravano essere estranei a ogni attività ludica», 2 e dove anzi «la sua presenza sarebbe apparsa irriverente o fuori luogo fino a qualche anno fa». 3 Secondo lo studioso, tale sconfinamento ha generato «un'ampia area grigia, una zona liminale tra il gioco vero e proprio e la vita reale» 4 in cui le categorie di "ludico" e "serio" si intrecciano e reinquadrano continuamente a vicenda. Un caso emblematico (sin dal 1</p><div class="ds-work-card--button-container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--work-card","attachmentId":41008620,"attachmentType":"pdf","workUrl":"https://www.academia.edu/7288556/La_ludicizzazione_del_testo_filmico_appunti_sparsi"}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--work-card","attachmentId":41008620,"attachmentType":"pdf","workUrl":"https://www.academia.edu/7288556/La_ludicizzazione_del_testo_filmico_appunti_sparsi"}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div></div></div></div><div data-auto_select="false" data-client_id="331998490334-rsn3chp12mbkiqhl6e7lu2q0mlbu0f1b" data-doc_id="41008620" data-landing_url="https://www.academia.edu/7288556/La_ludicizzazione_del_testo_filmico_appunti_sparsi" data-login_uri="https://www.academia.edu/registrations/google_one_tap" data-moment_callback="onGoogleOneTapEvent" id="g_id_onload"></div><div class="ds-top-related-works--grid-container"><div class="ds-related-content--container ds-top-related-works--container"><h2 class="ds-related-content--heading">Related papers</h2><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="0" data-entity-id="94068609" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/94068609/La_banalizzazione_dello_sguardo_Tempo_di_uccidere_dal_romanzo_al_film">La banalizzazione dello sguardo: Tempo di uccidere dal romanzo al film</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="10167770" href="https://mondodomani.academia.edu/SilviaLilli">Silvia Lilli</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Il Tolomeo, 2022</p><p class="ds-related-work--abstract ds2-5-body-sm">In 1989 was released the cinematographic adaptation of Ennio Flaiano’s novel (1947) Tempo di uccidere (Time to kill) directed by Giuliano Montaldo. This contribution analyses the narratological features of the two versions, showing how in the medial switch the critical sight on Italian colonialism of the novel is turned to a shallow tale where is instead enforced the traditional view of white male superiority, due to the loss of the inner focus, the misread representation of characters, and the underestimation of episodes which served in the book to undermine colonizer’s self-sight and disclose the identity crisis of the following chapters.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"La banalizzazione dello sguardo: Tempo di uccidere dal romanzo al film","attachmentId":98375809,"attachmentType":"pdf","work_url":"https://www.academia.edu/94068609/La_banalizzazione_dello_sguardo_Tempo_di_uccidere_dal_romanzo_al_film","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/94068609/La_banalizzazione_dello_sguardo_Tempo_di_uccidere_dal_romanzo_al_film"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="1" data-entity-id="67114245" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/67114245/Plurilinguismo_tra_adattamenti_fraintendimenti_parodie_da_Ruzante_a_Tarantino_nella_scena_italiana">Plurilinguismo tra adattamenti, fraintendimenti, parodie, da Ruzante a Tarantino, nella scena italiana</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="113324654" href="https://independent.academia.edu/PaoloPUPPA">Paolo PUPPA</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Studia universitatis hereditati, znanstvena revija za raziskave in teorijo kulturne dediščine</p><p class="ds-related-work--abstract ds2-5-body-sm">Med različnimi viri izstopa Pirandellov roman iz leta 1902 Lontano z nekaterimi ibsenskimi vplivi, ki se osredotoča na različne, nasprotujoče si posledice, povezane z Babelovo milostjo in nesrečo. Gre za konstitutivno ambivalentnost vloge tujca med bedno parijo in skritim Bogom, ki se vrti okoli majhnega zvonika in nestrpnosti do tistih, ki govorijo drug jezik. Predstavljeni so emblematični liki v literarnem in gledališkem spominu o jezikovnem izgnanstvu, od mita o dobrem divjaku do Neznanca po Camusu, od Pinterjeve The Room do Tarantinove Stranieri. Ključne besede: jezik v gledališču, Pirandello, Tarantino, večjezičnost, commedia dell' arte Among the various sources, the Pirandellian novel of 1902, Lontano, with some Ibsenian influences, serves to focus on the different, contradictory implications relating to Babel's grace / misfortune. Constitutive ambivalence of the role of the foreigner, between miserable pariah and hidden God, in view of the small bell tower and intolerance towards those who speak a different language. Emblematic figures in the literary and theatrical memory about linguistic exile, from the myth of the good savage to the Stranger by Camus, from The room by Pinter to Stranieri by Tarantino.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Plurilinguismo tra adattamenti, fraintendimenti, parodie, da Ruzante a Tarantino, nella scena italiana","attachmentId":78053950,"attachmentType":"pdf","work_url":"https://www.academia.edu/67114245/Plurilinguismo_tra_adattamenti_fraintendimenti_parodie_da_Ruzante_a_Tarantino_nella_scena_italiana","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/67114245/Plurilinguismo_tra_adattamenti_fraintendimenti_parodie_da_Ruzante_a_Tarantino_nella_scena_italiana"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="2" data-entity-id="3163132" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/3163132/Appunti_per_una_performance_multimediale_di_testi_i_Dialoghi_con_Leuc%C3%B2_di_Cesare_Pavese">Appunti per una performance multimediale di testi: i Dialoghi con Leucò di Cesare Pavese</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="720769" href="https://unibo.academia.edu/EleonoraCavallini">Eleonora Cavallini</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Imagines. La Antiguedad en las Artes Escénicas y Visuales, Logrono, Universidad de La Rioja, 2008, 37-56, 2008</p><p class="ds-related-work--abstract ds2-5-body-sm">La presente relazione prende le mosse da una concreta esperienza di lavoro che recentemente ha coinvolto -oltre a chi scrive-alcuni qualificati operatori nel settore del cinema, del teatro, della musica e delle installazioni multimediali. Mi riferisco, in particolare, ad Alessandro "Bibi" Bozzato, principale artefice della performance che Riassunto.-Questa performance, realizzata dal gruppo "Krisis" di Venezia e presentata in anteprima a Ravenna il 18 gennaio 2006, si incentra su una selezione 'mirata' di dialoghi tratti dall'opera di Cesare Pavese Dialoghi con Leucò (1947): testo linguisticamente molto intenso, tanto da essere considerato da Gianfranco Contini e da altri come una prosa poetica, vicina a Lavorare stanca.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Appunti per una performance multimediale di testi: i Dialoghi con Leucò di Cesare Pavese","attachmentId":31061795,"attachmentType":"pdf","work_url":"https://www.academia.edu/3163132/Appunti_per_una_performance_multimediale_di_testi_i_Dialoghi_con_Leuc%C3%B2_di_Cesare_Pavese","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/3163132/Appunti_per_una_performance_multimediale_di_testi_i_Dialoghi_con_Leuc%C3%B2_di_Cesare_Pavese"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="3" data-entity-id="31599596" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/31599596/Usi_del_turpiloquio_nella_traduzione_filmica">Usi del turpiloquio nella traduzione filmica</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="43974192" href="https://independent.academia.edu/MariaPavesi">Maria Pavesi</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2000</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Usi del turpiloquio nella traduzione filmica","attachmentId":51929589,"attachmentType":"pdf","work_url":"https://www.academia.edu/31599596/Usi_del_turpiloquio_nella_traduzione_filmica","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/31599596/Usi_del_turpiloquio_nella_traduzione_filmica"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="4" data-entity-id="4807098" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/4807098/Primi_approcci_al_documentario_italiano">Primi approcci al documentario italiano</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="6212407" href="https://uniroma1.academia.edu/rs">r s</a></div><p class="ds-related-work--abstract ds2-5-body-sm">Si potrebbe cominciare dicendo: il documentario italiano non esiste. Nella patria del neorealismo, le riflessioni critiche e storiche 1 e le esperienze pratiche in questo campo hanno lasciato tracce scarsissime. Nessuna "scuola" è emersa e sono molto pochi gli autori di cui si ricordi il nome. Se poi si considera la televisione, che dovrebbe incentivare la realizzazione di documentari, bisogna constatare che essa, da questo punto di vista, è troppo spesso in mano a incompetenti. Il documentario è in Italia un'attività marginale e marginalizzata. Chi fa comunque del documentario sembra lavorare in una "terra di nessuno", senza esperienze e tradizioni alle spalle. Vengono subito alla mente due ragioni per spiegare questa strana "assenza" del documentario: da una parte la riluttanza a usare il suono in presa diretta che caratterizza il cinema italiano dai primi anni quaranta ai primi anni ottanta (oggi, almeno nel campo del lungometraggio, la situazione è un po' diversa, grazie alle abitudini della televisione, ad alcuni attori-registi e un po' anche all'ostinazione di alcuni critici isolati); dall'altra l'assorbimento delle pratiche realistiche da parte del cinema di finzione, a cominciare dal neorealismo.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Primi approcci al documentario italiano","attachmentId":32104644,"attachmentType":"pdf","work_url":"https://www.academia.edu/4807098/Primi_approcci_al_documentario_italiano","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/4807098/Primi_approcci_al_documentario_italiano"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="5" data-entity-id="40717678" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/40717678/Testori_alla_periferia_del_romanzo_Appunti_su_Il_fabbricone_">Testori alla periferia del romanzo. Appunti su "Il fabbricone"</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="39196910" href="https://unipr.academia.edu/DiegoVarini">Diego Varini</a></div><p class="ds-related-work--metadata ds2-5-body-xs">“Studi e Problemi di Critica Testuale”, 96, (2018/1), 2018</p><p class="ds-related-work--abstract ds2-5-body-sm">spaggiari e paola vecchi galli fondati e già diretti da r. raffaele spongano 9 6 a p r i l e 2 0 1 8 i s e m e s t r e 2 0 1 8 p i s a · r o m a f a b r i z i o s e r r a e d i t o r e m m x v i i i</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Testori alla periferia del romanzo. Appunti su \"Il fabbricone\"","attachmentId":61003886,"attachmentType":"pdf","work_url":"https://www.academia.edu/40717678/Testori_alla_periferia_del_romanzo_Appunti_su_Il_fabbricone_","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/40717678/Testori_alla_periferia_del_romanzo_Appunti_su_Il_fabbricone_"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="6" data-entity-id="4804671" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/4804671/Apr%C3%A0_Primi_approcci_al_documentario_italiano">Aprà - Primi approcci al documentario italiano</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="6208451" href="https://independent.academia.edu/sorrentinov">valentina sorrentino</a></div><p class="ds-related-work--abstract ds2-5-body-sm">Si potrebbe cominciare dicendo: il documentario italiano non esiste. Nella patria del neorealismo, le riflessioni critiche e storiche 1 e le esperienze pratiche in questo campo hanno lasciato tracce scarsissime. Nessuna "scuola" è emersa e sono molto pochi gli autori di cui si ricordi il nome. Se poi si considera la televisione, che dovrebbe incentivare la realizzazione di documentari, bisogna constatare che essa, da questo punto di vista, è troppo spesso in mano a incompetenti. Il documentario è in Italia un'attività marginale e marginalizzata. Chi fa comunque del documentario sembra lavorare in una "terra di nessuno", senza esperienze e tradizioni alle spalle. Vengono subito alla mente due ragioni per spiegare questa strana "assenza" del documentario: da una parte la riluttanza a usare il suono in presa diretta che caratterizza il cinema italiano dai primi anni quaranta ai primi anni ottanta (oggi, almeno nel campo del lungometraggio, la situazione è un po' diversa, grazie alle abitudini della televisione, ad alcuni attori-registi e un po' anche all'ostinazione di alcuni critici isolati); dall'altra l'assorbimento delle pratiche realistiche da parte del cinema di finzione, a cominciare dal neorealismo.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Aprà - Primi approcci al documentario italiano","attachmentId":32102858,"attachmentType":"pdf","work_url":"https://www.academia.edu/4804671/Apr%C3%A0_Primi_approcci_al_documentario_italiano","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/4804671/Apr%C3%A0_Primi_approcci_al_documentario_italiano"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="7" data-entity-id="80971041" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/80971041/LImmagine_Filmica_Nella_Formazione_Le_Narrazioni_Sulla_Violenza_AllInfanzia">L'Immagine Filmica Nella Formazione: Le Narrazioni Sulla Violenza All'Infanzia</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="102638152" href="https://independent.academia.edu/Mariagarro5">Maria garro</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2011</p><p class="ds-related-work--abstract ds2-5-body-sm">Il presente contributo rivolge l'attenzione alle risonanze emotive, alla soggettività di chi affronta il tema della violenza all'infanzia. Lo studio si propone di esplorare i processi attraverso i quali i soggetti, posti all'interno di un gruppo impegnato in attività formativa, organizzano informazioni e costruiscono rappresentazioni sull'abuso sui minori. Il gruppo dei partecipanti all'indagine è composto da 163 soggetti (122 studenti universitari, e 41 professionisti tra cui N = 12 agenti delle Forze dell'ordine e N = 29 operatori sociosanitari) ai quali è stata proposta la visione del film documentario Una storia americana (Capturing the Friedmans, USA 2003). I contenuti delle riflessioni sono stati analizzati attraverso l'analisi delle frequenze ed i test statistici del Chi 2. Lo studio conferma l'importanza dell'utilizzo, nella formazione, dei laboratori cinematografici che rendono possibile anche la narrazione interiore permessa dalla relazione, e dalla protezione, che si crea all'interno del gruppo per mezzo del quale si dà pensabilità all'accaduto ed una motivazione agli eventi e al loro senso.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"L'Immagine Filmica Nella Formazione: Le Narrazioni Sulla Violenza All'Infanzia","attachmentId":87175911,"attachmentType":"pdf","work_url":"https://www.academia.edu/80971041/LImmagine_Filmica_Nella_Formazione_Le_Narrazioni_Sulla_Violenza_AllInfanzia","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/80971041/LImmagine_Filmica_Nella_Formazione_Le_Narrazioni_Sulla_Violenza_AllInfanzia"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="8" data-entity-id="88644212" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/88644212/Spazializzazione_del_suono_e_psiche_del_personaggio_Su_alcune_scene_donizettiane">Spazializzazione del suono e psiche del personaggio. Su alcune scene donizettiane</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="234052531" href="https://consno.academia.edu/FedericoFornoni">Federico Fornoni</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Donizetti in scena. Attualità del testo-spettacolo, a cura di Federico Fornoni, Bergamo, Fondazione Donizetti, 2014</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Spazializzazione del suono e psiche del personaggio. Su alcune scene donizettiane","attachmentId":92577973,"attachmentType":"pdf","work_url":"https://www.academia.edu/88644212/Spazializzazione_del_suono_e_psiche_del_personaggio_Su_alcune_scene_donizettiane","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/88644212/Spazializzazione_del_suono_e_psiche_del_personaggio_Su_alcune_scene_donizettiane"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="9" data-entity-id="3343633" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/3343633/La_citazione_e_il_meccanismo_della_transtestualit%C3%A0_filmica">La citazione e il meccanismo della transtestualità filmica</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="2898802" href="https://uniba-it.academia.edu/FedericoZecca">Federico Zecca</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2009</p><p class="ds-related-work--abstract ds2-5-body-sm">1. Questo saggio rappresenta un tentativo di fornire valore euristico al concetto di citazione filmica per mezzo di una severa delimitazione del suo campo tipologico e di una chiara definizione del suo statuto semiotico. La nostra proposta è di considerare la citazione filmica come il prodotto di un'operazione di montaggio sincretico di unità linguistiche (già) realizzate, posto in essere da una prassi enunciativa che trasporta in un testo di arrivo uno o più "elementi previncolati" (Lévi-Strauss 1964) di un testo di partenza. La citazione si pone come il prodotto di una pratica di replicabilità audiovisiva (cfr. Dusi, Spaziante, a cura, 2006) dotata di caratteristiche del tutto singolari. Il suo statuto sincretico la differenzia da altre forme della transtestualità cinematografica come l'allusione o il remake. Essa non si fonda sul rifacimento di strutture invarianti rintracciate in un testo precedente ma su un'operazione di découpage e collage (cfr. Compagnon 1979), di innesto in un nuovo testo di frammenti processuali "importati" da un testo di partenza. La pratica della citazione filmica non è interessata a riproporre un testo di partenza nella "differenza" di un testo di arrivo (cfr. Deleuze 1968) né a tradurlo per livelli di equivalenza (cfr. Dusi 2003). Alla similarità del senso, la citazione preferisce l'identità della lettera. La citazione filmica non si basa sulla replica allografica (cfr. Genette 1994; Goodman 1968), sul riferimento ad una matrice di proprietà costitutive da rimettere in testo, ma sulla copia autografica, sulla ripresa di una nuova occorrenza di un "tipo" (un'inquadratura) precedentemente realizzato (cfr. Chambat-Houillon 2005).</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"La citazione e il meccanismo della transtestualità filmica","attachmentId":31158634,"attachmentType":"pdf","work_url":"https://www.academia.edu/3343633/La_citazione_e_il_meccanismo_della_transtestualit%C3%A0_filmica","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/3343633/La_citazione_e_il_meccanismo_della_transtestualit%C3%A0_filmica"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div></div></div><div class="ds-sticky-ctas--wrapper js-loswp-sticky-ctas hidden"><div class="ds-sticky-ctas--grid-container"><div class="ds-sticky-ctas--container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--sticky-ctas","attachmentId":41008620,"attachmentType":"pdf","workUrl":null}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--sticky-ctas","attachmentId":41008620,"attachmentType":"pdf","workUrl":null}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div></div></div><div class="ds-below-fold--grid-container"><div class="ds-work--container js-loswp-embedded-document"><div class="attachment_preview" data-attachment="Attachment_41008620" style="display: none"><div class="js-scribd-document-container"><div class="scribd--document-loading js-scribd-document-loader" style="display: block;"><img alt="Loading..." src="//a.academia-assets.com/images/loaders/paper-load.gif" /><p>Loading Preview</p></div></div><div style="text-align: center;"><div class="scribd--no-preview-alert js-preview-unavailable"><p>Sorry, preview is currently unavailable. 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