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Alice Cati

Libri dell'autore

Creative industry and gender: Reflections on a non-obvious combination digital
formato: Articolo | COMUNICAZIONI SOCIALI - 2014 - 3. (En)gendered creativity. Actors Agencies Artifacts | Open Access
Anno: 2014
Scarica
Video-diary like auto-ethnography. A model for field research on the forms of self-documentation through audiovisual hand-held devices digital
formato: Articolo | COMUNICAZIONI SOCIALI - 2012 - 3. L'impulso autoetnografico. Radicamento e riflessività nell'era intermediale
Anno: 2012
RIASSUNTO Il saggio espone i risultati di una ricerca esplorativa condotta per comprendere se la produzione di un videodiario sia un metodo adatto per la conduzione di una ricerca autoetnografica. Nello specifico, la ricerca ha monitorato, tramite metodo qualitativo, la pratiche di autorappresentazione di quattro soggetti (due uomini e due donne) nel processo di produzione di un videodiario, realizzato per lo più tramite dispositivi audiovisivi portatili. Dal punto di vista metodologico, le diverse fasi della ricerca hanno richiesto l’uso di un approccio multidisciplinare, che integrasse la prospettiva etnografico-visuale con la teoria del film e dei media audiovisivi, così come una ripresa di alcuni concetti inerenti alla riflessione filosofica sull’autorappresentazione. Una pratica di produzione diaristica condotta con dispositivi audiovisivi portatili in che cosa si differenzia rispetto a precedenti forme di auto-narrazione prodotte con altri dispositivi mediali? In quale modo prende forma l’impulso al radicamento nel momento in cui la scrittura del sé è realizzata tramite immagini? Spinto da nuove possibilità di immediatezza, oggettività e autenticità, garantite dall’uso delle nuove tecnologie digitali, l’autore del videodiario sembra aver lasciato definitivamente sullo sfondo la scrittura diaristica come esercizio di introspezione e di rielaborazione del passato. In questo senso, il videodiario è stato apprezzato da tutti i soggetti coinvolti perché ha consentito la possibilità di cogliere l’istante nell’attimo concreto della sua realizzazione, come frammento significativo nel perimetro spazio-temporale in cui si dispiega. SUMMARY The essay aims to illustrate the results of an exploratory research conducted to understand if the production of a video-diary is a suitable method for an autoethnographic research. In particular, the inquiry has monitored, with a qualitative method, the self-representation practices of four subjects (2 men and 2 women) during the creation of a video-diary, mainly made through hand-held audiovisual devices. From a methodological point of view, the different steps of the research need to adopt a trans-disciplinary approach, integrating a visual-ethnographic perspective with the theory of film and audiovisual media, as well as a philosophical account on self-representation. How is a diary practice conducted through a hand-held audiovisual device different from previous forms of self-narration with other media? Can we talk about forms of socio-cultural grounding that emerge from processes of self-writing through images? Pushed by the new rising drives of immediacy, objectivity, and authenticity, thanks to the digital technologies, the author of a video-diary seems to have definitely left on the background the diary writing as a tool of introspective exercise and reworking of the past. In this sense, the video-diary has been fully appreciated for the chance granted of shooting a moment in its realization, as something that signifies inside the space and temporal perimeter in which is happening.
€ 6,00
Nostalgie di casa. Voci e corrispondenze nella rubrica televisiva «Saluti da casa» (1964-1968) digital
formato: Articolo | COMUNICAZIONI SOCIALI - 2011 - 1. Cinema e sonoro in Italia (1945-1970)
Anno: 2011
Il saggio muove dall’analisi della rubrica Saluti da casa, appuntamento dedicato ai lavoratori italiani emigrati in Svizzera, all’interno del programma Un’ora per voi, coprodotto dalla Società svizzera di radiotelevisione e dalla Radiotelevisione italiana a partire dal 1964. Tale corrispondenza audiovisiva tra parenti lontani, sebbene realizzata esclusivamente nei luoghi d’origine, esplicita alcune funzioni simboliche e sociali al tempo stesso, assolte dal mezzo televisivo in quegli anni: da un lato, per l’allora modello pedagogico della RAI, si palesa la sfidante discrasia fra lingua nazionale e dialetti; dall’altro, la connessione mediatica tra familiari ed emigrati punta a far slittare i modelli di comunicazione privata alla sfera pubblica. Il trattamento della materia sonora risente pertanto del registro culturale dell’epoca tendente, grazie ai ritrovati tecnologici, a una captazione in sincrono delle tracce vocali, nonché alla costruzione di un formato audiovisivo originale, la ‘video-cartolina’. Da ultimo, l’organizzazione retorica costituisce la base per la coloritura patetico-affettiva dei messaggi, il cui tono vira prevalentemente verso il sentimento nostalgico. The essay starts from the analysis of the TV program Saluti da casa (Greetings from home), an event dedicated to the Italian immigrant workers in Switzerland, within the program Un’ora per voi (One hour for you), co-produced by the Swiss Broadcasting Corporation and the Italian Radio and Television since 1964. This audiovisual correspondence between distant relatives, though only from distant places, expresses some functions at the same time symbolic and social, absolved by television in those years: on the one hand, RAI’s pedagogical model at that moment experienced the challenging discrepancy between national languages and dialects; on the other, the media connection between families and emigrants aims at shifting the patterns of private communication to the public sphere. The processing of sound matter thus reflects the cultural register of the time tending, thanks to technological improvements, to a collection of vocal tracks in sync, and the building of an original audio-visual format, the ‘video postcard’. Finally, the rhetorical organization is the basis for pathetic-emotional messages, whose tone mainly turns on the nostalgic feeling.
€ 6,00
I tesori dell’effimero. ‘Wunderkammern’, creazioni filmiche e il potere magico dell’immagine-oggetto digital
formato: Articolo | COMUNICAZIONI SOCIALI - 2010 - 3. Media e magia. Secolarizzazione dell'esperienza magica, usi magici dei media
Anno: 2010
RÉSUMÉ Deux ouvrages récents, qui se déplacent à la frontière entre la production cinématographique et l’art vidéo, ont travaillé sur la possibilité des images en mouvement de faire revivre et rejouer la tradition antique de la Wunderkammer. En effet, Disorient de Fiona Tan, présenté à la Biennale de Venise en 2009, et Les plages d’Agnès d’Agnès Varda (2008) montrent une tendance d’une partie, à cataloguer et thésauriser des objets et des images dans un lieu privé, pour leur rareté et unicité, de l’autre partie à capturer ou libérer leur puissance magique intrinsèque, laquelle représente le résultat des personnifications et des pulsions fétichistes du collecteur. En particulier, dans la vidéo de Tan, la Wunderkammer devient un lieu d’accumulation et d’assemblage, le symbole de l’hétérogénéité des objets, de l’attraction vers l’inconnu et l’excentrique, tandis que Varda travaille plus sur une tension projective et une dimension de mémoire capable de modéliser la réalité en la subjectivisant. Dans ce contexte, les deux oeuvres non seulement aident à clarifier le caractère vital et organique de l’image en mouvement – une nature semblable à celle des objets magiques qu’elles reproduisent, mais elles donnent aussi lieu à des effets de étonnement et merveille, émanant de tous les éléments qui composent les collections. En suivant le fil d’une discussion sur le potentiel magique et merveilleux des Wunderkammer, l’essai se propose d’étudier les processus et les formes de l’objet comme image et de l’image comme objet. SUMMARY Two recent works, which are to be considered between film production and art video, worked on the ability of moving images to reviving and re-enacting the ancient tradition of the Wunderkammer. In fact, both Fiona Tan’s Disorient (Venice Biennale, 2009), and Agnès Varda’s Les plages d’Agnès (2008) show a tendency on the one hand to catalogue and hoard objects and images in a private place, because of their rarity and uniqueness; on the other hand, they thematize the desire to capture or release their innate magical power, as result of the collector’s personifications and fetishistic impulses. In particular, in Tan’s video, the Wunderkammer becomes a place of accumulation and assemblage, a symbol of the heterogeneity of the objects, the site of attraction toward the unknown and the eccentric; while Varda works more on a projective and memorial tension, able to model reality subjectivizing it. In this context, both works not only help clarifying the perception of the vital and organic nature of moving images – a nature which is similar to that of the magic elements that they reproduce – rather they also produce a wonder effect, emanating from the items making up the collections. Following the thread of a discussion on the potential of magic wonderment of Wunderkammern, the essay aims to follow the processes and the shapes adopted by the object as image and by the image as object.
€ 6,00
Immagini-souvenir da mondi devastati. Il fenomeno dei tour turistici nei territori del post-trauma digital
formato: Articolo | COMUNICAZIONI SOCIALI - 2010 - 1. Lasciare tracce, essere tracciati
Anno: 2010
RÉSUMÉ Ces dernières années il y a eu une tendance de plus en plus diffusée à participer à des visites et des excursions organisées par les tour-operators pour explorer certaines zones dévastées par la guerre (Sarajevo, Auschwitz) ou par des catastrophes naturelles et nucléaires (New Orleans et Chernobyl). Ce phénomène est lié à une réelle nécrophilie de la trace, qui pousse le touriste-voyeur, habitué aux images des médias de plus en plus sanglantes et violentes, à activer un premier contact avec les tragédies du passé, à sympathiser fatalement à la fois avec victimes et bourreaux, tous les deux protagonistes de ces événements. En travaillant sur des productions hétérogènes (l’oeuvre vidéo-artistique War Tourist de Emmanuel Licha et quelques vidéos amateuriel postées sur YouTube), cet essai permettra d’identifier la signification de ces représentations, capables non seulement de traduire en images l’expérience d’un voyage à la frontière entre commémoration et profanation, mais aussi d’établir un équilibre précaire entre proximité et distance, dans l’appropriation des signes d’une réalité marquée par une irréductible différence avec l’univers rassurant des touristes. SUMMARY In recent years there has been an increasing tendency to participate in tours, guided and organized by tour operators, to explore some areas devastated by war (Sarajevo, Auschwitz) or by natural and nuclear disasters (New Orleans and Chernobyl). This phenomenon is intertwined with real trace necrophilia, pushing the tourist-voyeur, now accustomed to increasingly bloody and violent media images, to enable on one side a first contact with the tragedies of the past, on the other to fatally empathize with both victims and perpetrators, protagonists of those events. Working on diverse productions (the video-artistic work War Tourist by Emmanuel Licha and some homemade videos posted on YouTube), this essay will identify the meaning of such representations, which not only translate into images the experience of a trip to the border between commemoration and desecration, but also establish a precarious balance between proximity and distance in the appropriation of the signs of reality, marked by an irreducible difference with the reassuring universe of tourists
€ 6,00
Pellicole di ricordi. Film di famiglia e memorie private (1926-1942)
formato: Libro | editore: Vita e Pensiero | anno: 2009 | pagine: 278
Anno: 2009
Che cos'è il film privato? Quando nasce il cinema amatoriale e come viene accolto in Italia? A partire da materiali inediti (f
€ 20,00
Dtt Generation? Visioni interattive per i giovani telespettatori del digitale terrestre 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 transition of television communication from an analogical environment to the terrestrial digital one is not only a technical or marketing issue; nor it is only a matter of languages and communication strategies. It must be assessed also in terms of the cognitive, relational, emotional and identity resources that it unfolds. The essay deals with the relationship between young generation and Dtt offers, with the objective to verify the relationship between Dtt offer and the skills and needs expressed by the users, young people, if we consider the evidence that the digital terrestrial television answers to the technical and media needs of the new generations. The essay deals with the spaces that Dtt creates and dedicates to young viewers, the forms of participation and interactivity experimented and the fact that it is recognizable and more appealing with respect to other platforms. The analysis of the digital terrestrial television for children and young people (theme channels, formats and interactive offers in 2006) allows bringing to light a simplification of interactive platforms and a depletion of accessible contents, e.g. limiting the interactive forms to the television vote, the sending of sms from home and the possibility to see the comments of other viewers. In particular, the interactive applications associated to programs and channels for the youngest seem to be limited to videogame applications, offering a more direct, simple experience, within reach, if compared to other platforms. In its initial development phase, Dtt offer for young people seems therefore going in two directions: the video-recreational one and the cross-media. In conclusion, the essay underlines that there are still many unknown potentialities: personalization of times and of content supplying; multiplication of the attention focuses; strengthening and diversification of viewer’s action; sharing with the community.
€ 6,00
«Sorridi alla mamma!». Presenze materne nelle pratiche cine-amatoriali digital
formato: Articolo | COMUNICAZIONI SOCIALI - 2007 - 2. Genere e generi. Figure femminili nell'immaginario cinematografico italiano
Anno: 2007
The essay investigates the representation of femininity in the films about family. The analysis develops between the reconstruction of the figure of woman in promotional texts aimed at promoting the recovered use of domestic technologies in the first decades of the century. It also examines the presence/absence of the mother’s figure in films about family. It shows a framework full of implications, and in which what appears (and what does not appear) reveals a different and unexpected sense and meaning. In particular the woman, despite not being the architect nor the protagonist of the shooting, confirms herself as Deus Ex Machina of the filmed memories of the family.
€ 6,00
Pathé-Baby e i dilettanti del cinema in Italia tra il 1927 e il 1935 digital
formato: Articolo | COMUNICAZIONI SOCIALI - 2005 - 3. Il metodo e la passione. Cinema amatoriale e film di famiglia in Italia
Anno: 2005
From the end of the Twenties, the motion picture company Pathé-Baby begins to distribute its own products in Italy. Despite the difficulty to supply an exact description of the diffusion of Pathé-Baby’s appliances in Italy, this essay aims at going through the kind of offer, the forms of promotion and the conversational level reached by the amateur practice and, eventually, the figures and institutions that, until the mid-Thirties, constantly used, though not in a widespread way, motion-picture cameras, projectors and their attachments manufactured by Pathé-Baby.
€ 6,00
Auto/rappresentazioni: la messa in forma del sé nel film di famiglia digital
formato: Articolo | COMUNICAZIONI SOCIALI - 2005 - 3. Il metodo e la passione. Cinema amatoriale e film di famiglia in Italia
Anno: 2005
Is it possible to conceive home movies as a form of self-representation? How is individual expression mediated with the mandate of the family as institution? The making of home movies enables the person behind the camera to say something about him/herself, about his/her world, life, and affections. The film diaries of Jonas Mekas, in their proximity to private films of the family type, thus make it possible to emphasize us convergence between the record of familiar everyday life and the positioning of a personal and exclusive look at it. The search for the mode of expression and representation of the self thus involves all practices of inscription of one’s own image in the course of the filming (self-portraits), of images of other people (family portraits) and, residually, of any trace that, by attesting the presence of the body of the operator, presents itself as a sign of subjectivization of the familial filmic text. In this double tension between the filming oneself and films others, the paper seeks to explore the peculiarity of the authorial impulse and the process of imaging oneself through the mechanism of amateur film-making.
€ 6,00
Per una retorica della crisi. La minaccia dell’‘home movie’ nel dibattito tecnico-industriale dal 1969 al 1975 digital
formato: Articolo | COMUNICAZIONI SOCIALI - 2004 - 1. Civiltà delle macchine. Il cinema italiano e le sue tecnologie
Anno: 2004
Starting out from a survey of the various crises that have left their mark on the history of cinema, the article aims to explore the characteristics and results stemming from the appearance on the market of the technology of home cinema or “home box office”. Through a reconstruction of the technical-industrial debate that unfolded in journals during the period between 1969 and 1975, the study charts the main lines of an enquiry into the impact of the new devices on the social fabric. In this perspective, while on the one hand the first patents of videocassettes and videodiscs catalyzed anxiety concerning a new death of the cinema, on the other hand they contained the core of a sort of antidote which in subsequent years took shape as the institutionalisation of a new type of cinematographic experience.
€ 6,00
Serial di genere? Come la serialità interpreta il genere nel cinema delle origini digital
formato: Articolo | COMUNICAZIONI SOCIALI - 2002 - 2. TERRITORI DI CONFINE
Anno: 2002
€ 6,00
COMUNICAZIONI SOCIALI - 2014 - 3. (En)gendered creativity. Actors Agencies Artifacts digital
formato: Fascicolo digitale
Anno: 2014
Numero tre del 2014 della rivista "Comunicazioni Sociali"
COMUNICAZIONI SOCIALI - 2012 - 3. L'impulso autoetnografico. Radicamento e riflessività nell'era intermediale digital
formato: Fascicolo digitale
Anno: 2012
Numero tre del 2012 della rivista "Comunicazioni Sociali"
 

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