L’ emancipazione femminile nei classici Disney

Esiste un rapporto tra l'emancipazione delle donne e la socializzazione di genere che mostra l’importanza, nella vita di un bambino e di un adolescente, delle agenzie educative primarie (la famiglia e la scuola). I media però rappresentano un’altra fondamentale agenzia di formazione e socializzazione, più informale e meno prescrittiva ma decisamente pervasiva e rilevante nella costruzione di modelli primari di relazione. Gli stereotipi di genere sono centrali nelle narrazioni mediali della pubblicità, del cinema e della televisione e lo sono ancor di più nel mondo incorporeo di Internet dove la loro funzione di ancoraggio gioca un ruolo fondamentale. Nell'articolo è analizzato il ruolo degli stereotipi di genere nel cinema Disney, riflesso di valori sociali e culturali storicamente definiti, e la capacità dei film disneyani di creare meta-narrazioni del mondo sociale in cui si evolve il rapporto tra il genere femminile e quello maschile.  Dal primo classico Disney, "Biancaneve e i sette nani", uscito nelle sale nel 1937, al lungometraggio del 2016 "Oceania”, si sono alternate diverse weltanschauungen indicative di particolari valori sociali e molteplici indicatori semiotici delle differenze di genere. L'analisi femminista ha focalizzato il ruolo delle eroine Disney identificando, nelle diverse epoche, l'evoluzione dei ruoli di genere riflessa nella cultura popolare.Il tema dell’emancipazione femminile pone in campo quello della socializzazione all’identità di genere che vede sicuramente nelle agenzie educative primarie, la famiglia e la scuola, i punti di riferimento più importanti nella vita di un bambino e di un adolescente. Non va però trascurata una fondamentale agenzia educativa, meno istituzionalizzata, ma non per questo meno importante e pervasiva: quella dei media tradizionali e dei new media. Gli stereotipi di genere sono centrali nelle narrazioni mediali della pubblicità, del cinema, della televisione e ancora di più lo sono nel mondo disincarnato della Rete, dove la loro funzione di ancoraggio gioca un ruolo fondamentale. In questa sede si proverà ad analizzare il ruolo dello stereotipo di genere nel cinema Disney come riflesso di valori sociali e culturali storicamente definiti ma anche la capacità dei lungometraggi disneyani di dar vita a metanarrazioni del mondo sociale in cui progressivamente muta il rapporto tra il genere femminile e quello maschile. Dal primo classico disneyano, “Biancaneve e i sette nani”, distribuito nelle sale nel 1937, al lungometraggio “Oceania” del 2016 si sono avvicendate diverse weltanschauungen rappresentative di particolari valori e molteplici marcatori semiotici delle differenze di genere. L’analisi femminista non ha perso l’occasione di analizzare le eroine disneyane identificando un’evoluzione dei ruoli di genere che riflette quella dei costumi sociali e della cultura popolare

Emancipación femenina en los clásicos de Disney

The issue of women's emancipation brings into play that of socialization with gender identity which certainly sees primary educational agencies, the family and school, the most important reference points in the life of a child and a teenager. However, a fundamental educational agency, less institutionalized, but no less important and pervasive, should not be overlooked: that of traditional and new media. Gender stereotypes are central in the media narratives of advertising, cinema, television and even more so in the disembodied world of Internet, where their anchoring function plays a fundamental role. Here we will try to analyze the role of the gender stereotype in Disney cinema as a reflection of historically defined social and cultural values but also the ability of Disney feature films to give life to metanarratives of the social world in which the relationship between the female and male gender is progressively changing. From the first Disney classic, “Snow White and the Seven Dwarfs”, released in theaters in 1937, to the 2016 feature film “Vaiana”, various weltanschauungen have alternated, representing particular values ​​and multiple semiotic markers of gender differences. Feminist analysis has not lost the opportunity to analyze Disney heroines by identifying an evolution of gender roles that reflects that of social customs and popular culture.Existe una relación entre la emancipación de la mujer y la socialización por género, y muestra en las agencias educativas (la familia y la escuela) los puntos de referencia más importantes en la vida de un niño y de un adolescente. Pero influyen los medios comunicación. Los estereotipos de género son centrales en las narrativas mediáticas de la publicidad, del cine, de la televisión y aún más en el mundo incorpóreo de la Red. Su función de anclaje juega un papel fundamental. En el artículo analizamos el papel de los estereotipos de género en el cine de Disney, reflejo de valores sociales y culturales históricamente definidos, y también la capacidad de las películas de Disney para crear metanarrativas del mundo social en las que la relación entre los géneros femenino y masculino cambia. Desde el primer clásico de Disney, "Blancanieves y los siete enanitos", estrenado en los cines en 1937, hasta el largometraje de 2016 "Vaiana, se han alternado diferentes weltanschauungen (o visiones del mundo) que representan valores particulares y múltiples marcadores semióticos sobre diferencias de género. El análisis feminista ha estudiado las heroínas de Disney e identificado la evolución de los roles de género reflejado en la cultura popular.Il tema dell’emancipazione femminile pone in campo quello della socializzazione all’identità di genere che vede sicuramente nelle agenzie educative primarie, la famiglia e la scuola, i punti di riferimento più importanti nella vita di un bambino e di un adolescente. Non va però trascurata una fondamentale agenzia educativa, meno istituzionalizzata, ma non per questo meno importante e pervasiva: quella dei media tradizionali e dei new media. Gli stereotipi di genere sono centrali nelle narrazioni mediali della pubblicità, del cinema, della televisione e ancora di più lo sono nel mondo disincarnato della Rete, dove la loro funzione di ancoraggio gioca un ruolo fondamentale. In questa sede si proverà ad analizzare il ruolo dello stereotipo di genere nel cinema Disney come riflesso di valori sociali e culturali storicamente definiti ma anche la capacità dei lungometraggi disneyani di dar vita a metanarrazioni del mondo sociale in cui progressivamente muta il rapporto tra il genere femminile e quello maschile. Dal primo classico disneyano, “Biancaneve e i sette nani”, distribuito nelle sale nel 1937, al lungometraggio “Oceania” del 2016 si sono avvicendate diverse weltanschauungen rappresentative di particolari valori e molteplici marcatori semiotici delle differenze di genere. L’analisi femminista non ha perso l’occasione di analizzare le eroine disneyane identificando un’evoluzione dei ruoli di genere che riflette quella dei costumi sociali e della cultura popolare

Women's emancipation in Disney classics

Existe una relación entre la emancipación de la mujer y la socialización por género, y muestra en las agencias educativas (la familia y la escuela) los puntos de referencia más importantes en la vida de un niño y de un adolescente. Pero influyen los medios comunicación. Los estereotipos de género son centrales en las narrativas mediáticas de la publicidad, del cine, de la televisión y aún más en el mundo incorpóreo de la Red. Su función de anclaje juega un papel fundamental. En el artículo analizamos el papel de los estereotipos de género en el cine de Disney, reflejo de valores sociales y culturales históricamente definidos, y también la capacidad de las películas de Disney para crear metanarrativas del mundo social en las que la relación entre los géneros femenino y masculino cambia. Desde el primer clásico de Disney, "Blancanieves y los siete enanitos", estrenado en los cines en 1937, hasta el largometraje de 2016 "Vaiana, se han alternado diferentes weltanschauungen (o visiones del mundo) que representan valores particulares y múltiples marcadores semióticos sobre diferencias de género. El análisis feminista ha estudiado las heroínas de Disney e identificado la evolución de los roles de género reflejado en la cultura popular.The issue of women's emancipation brings into play that of socialization with gender identity which certainly sees primary educational agencies, the family and school, the most important reference points in the life of a child and a teenager. However, a fundamental educational agency, less institutionalized, should not be overlooked: that of traditional and new media. Gender stereotypes are central in the media narratives of advertising, cinema, television and even more so in the disembodied world of Internet, where their anchoring function plays a fundamental role. Here we will try to analyze the role of the gender stereotype in Disney cinema as a reflection of historically defined social and cultural values but also the ability of Disney feature films to give life to metanarratives of the social world in which the relationship between the female and male gender is progressively changing. From the first Disney classic, “Snow White and the Seven Dwarfs”, released in theaters in 1937, to the 2016 feature film “Oceania”, various weltanschauungen have alternated, representing particular values and multiple semiotic markers of gender differences. Feminist analysis has not lost the opportunity to analyze Disney heroines by identifying an evolution of gender roles that reflects that of social customs and popular culture

Once upon a time the Self: cinema and online identity playground tales

ABSTRACT More than any other medium, Cinema can express the ‘spirit’ of modern industrial civilization (Abruzzese, 2006; 2008; Casetti, 2008), by telling about other media (Frezza, 1996; 2014) through the post-modern phase up to the present Post-Media age (Krauss, 2004) even foreshadowing the mediascape evolution (Young, 2006). Over the last decade Cinema has told about social media as complex contests where identity building or re-configuration take place. Identity’s building is an on-going and almost infinite process, well expressed by the concept of identization (Melucci, 1991). This process grounds on the reflexive project of the self (Giddens, 1992), and on individuals’ abilities to assume each other’s perspective in order to be self-reflective (Cooley, 1902; Mead, 1934; Schutz, 1962); it spreads from the internal conversation (Archer 2003) and the narrative process (Bruner, 1990; Ricoeur, 1991; Pecchinenda, 2008). Social media make these perspectives cutting-edge since they allow subjectivization practices and offer the opportunity for identity textualization (Salzano, 2008), enhancing the dialectic between the embodied self and the desired self (Salzano, 2014). For instance, Memorable moi (2013) is a short film which tells the obsession regarding the identity acknowledgment. Some scholars claim a sort of disconnection between online and offline: late modernity identity — by means of digital media — is uninhibited and non-conforming (Reid 1991), or fluid and fragmented (Turkle, 1984; 1995) — because of the disembodiment — or alone despite always connected (Turkle, 2011). This kind of disconnection is told by several cinematic storytelling (Catfish, 2010, Acht Blumen, 2012). According to other scholars, the digital Self is stable and sustained (Baym 1998), though disseminated along multiple relationships and conversations: it is rather enriched thanks to the connected reflexivity (Ito, 2008; Baym and boyd, 2012; Boccia Artieri, 2012) and anchored to the body presence — even though in a mediated form. Two movies, among others, tell about the body as an ‘identity stake’ through the digital interactions: Me, You and Everyone We Know (2005) and Her (2013). In particular, social media platforms work as identity playground during Adolescence (boyd, 2008; 2014; Buckingham, 2008): young people’s identity-in-action (Weber and Mitchell, 2008) builds up between on line and offline interactions (Hine, 2000; 2013). Many movies tell about these identity performance, ranging over the sexual identity building (InCONTACT, 2012) or the political one (The Real Social Network, 2012, #chicagoGirl: The Social Network Takes on A Dictator, 2013); others focus on the reputation management of the online identity (Chef, 2014), or on the offline augmentation of mediated relations (Face 2 Face, 2012). Cinema also describes the other side of the coin. Many movies about young people and media — which can be analyzed by means of an anthropo-mediologic approach (Frezza, 2014 ) — tell about the risks regarding the online identity building: the cyberbullying (Disconnect, 2014), the problems in the identification processes (Adoration, 2008, Chatroom, 2011), the good judgment (Hard Candy, 2005) and the mourning (UnFRIEND, 2014). Matrix (1999) is the founder of those movies which tell about the online dark side where, following Foucault (1988) the Self fluidity is intended as a consequence and expression of Power. As for this point of view, social media are interpreted as cultural device that trigger — by means of technical constraints (Couldry, 2010) and individuals’ control — a sociable power (Colombo, 2013) which imposes to conform the imagined audience and the social stereotypes. Documentaries like We Live in Public (2009), Generation Social (2012), Online Now (2012), InRealLife (2013), Terms And Conditions May Apply (2013) and the short movie Look Up (2014) describe the complaint of social media power and effect in the individuals’ daily life. Once upon a time the Self: cinema and online identity playground tales (PDF Download Available). Available from: http://www.researchgate.net/publication/280224702_Once_upon_a_time_the_Self_cinema_and_online_identity_playground_tales [accessed Nov 22, 2015]

We don’t need no education. Rethinking education in the age of social media.

Hija de una exitosa retórica, la expresión digital natives (que se refiere a las nuevas generaciones nacidas y criadas dentro de un entorno marcado por la presencia cada vez más penetrante e inclusiva de las nuevas tecnologías de comunicación), implica la necesidad de repensar la supuesta superioridad en el dominio y competencia en el uso de las tecnologías y las plataformas de comunicación, de los nativos con respecto a los inmigrantes (padres, profesores, generaciones precedentes en general). La banalizante metáfora de los nativos digitales evade, de hecho, una mayor reflexión sobre los riesgos asociados con la disolución de las formas de mediación ejercida por los agentes de socialización tradicionales (escuela y familia en primer lugar) en los jóvenes, en lo que concierne a la utilización de los medios digitales. Este ensayo pretende una reflexión en la necesaria implementación de estrategias para una educación crítica adecuada. Se conocen con el nombre de media education o media literacy, (educación en los media), pero no se debe cometer el error de suponer que los jóvenes de hoy en día no necesitan de ninguna educación, como declara provocativamente el título.Started out as a successful rhetoric, the concept of digital natives, which refers to the new generations born and raised in a mediascape characterized by the increasing pervasiveness of communication technologies, implies rethinking the supposed superiority in terms of competence in the use of technology and communication platforms of the natives compared with the immigrants – parents, teachers, previous generations in general. The digital native metaphor, indeed, evades a more careful reflection on the risks of loosening of the forms of mediation of the traditional agencies of socialization (school and family in the first place) to young people regarding the use of the digital media. This article aims to reflect on the necessity of implementing appropriate strategies for critical education that go under the name of media education or media literacy, without making the mistake of assuming that today’s young people do not need no education, as we provocatively declared in the title

VRK1 phosphorylates and protects NBS1 from ubiquitination and proteasomal degradation in response to DNA damage

AbstractNBS1 is an early component in DNA-Damage Response (DDR) that participates in the initiation of the responses aiming to repair double-strand breaks caused by different mechanisms. Early steps in DDR have to react to local alterations in chromatin that are induced by DNA damage. NBS1 participates in the early detection of DNA damage and functions as a platform for the recruitment and assembly of components that are sequentially required for the repair process. In this work we have studied whether the VRK1 chromatin kinase can affect the activation of NBS1 in response to DNA damage induced by ionizing radiation. VRK1 is forming a basal preassembled complex with NBS1 in non-damaged cells. Knockdown of VRK1 resulted in the loss of NBS1 foci induced by ionizing radiation, an effect that was also detected in cell-cycle arrested cells and in ATM (−/−) cells. The phosphorylation of NBS1 in Ser343 by VRK1 is induced by either doxorubicin or IR in ATM (−/−) cells. Phosphorylated NBS1 is also complexed with VRK1. NBS1 phosphorylation by VRK1 cooperates with ATM. This phosphorylation of NBS1 by VRK1 contributes to the stability of NBS1 in ATM (−/−) cells, and the consequence of its loss can be prevented by treatment with the MG132 proteasome inhibitor of RNF8. We conclude that VRK1 regulation of NBS1 contributes to the stability of the repair complex and permits the sequential steps in DDR