Discotext: eredità e influenze dei modelli testuali e performativi nella musica disco

This article semiotically analyses constituent elements of disco, describing the traces left in pop culture, at a time when it is enjoying a cultural re-legitimation, not only as music but as a whole lifestyle. Here emerges a micro-cultural system which, through different dimensions (sound, visual, audiovisual), has given rise to innovative processes (a new dance relevance, while arises the dj fi gure) relating to new sound production practices (mix and remix) which changed forever the status of sound reproduction, fi nally marking a profound change of perspective about the values at stake in pop music

La relazione tra suono e immagine nel videoclip

The article is dedicated to the analysis, even with semiotic tools, of music video as a media format, specifically in its textual features, particularly in the relationship between sound and image, also highlighting gaps still existing in the observation of this matter. Music video belongs to the more general audiovisual field, but has its own specificity due to the relevance possessed by the song, and therefore by the music, with respect to film footage. This demonstrates how is overturned the usual hierarchy which in audiovisual language usually gives a primary role to images. The article takes up some elements of the aesthetic debate on the role of music in cinema, and then explores aspects relating to the conventionality of the synchronization between song and video, showing its concrete separateness, through a description of the diegetic sound logics, also presenting analyzes of two case studie

La versione infinita: riedizione come risemantizzazione

The essay starts from an expanded notion of re-semantization and investigates limits and opportunities of rewriting texts, particularly in the case where are authors themselves reworking the “originals”, and reconfiguring them. Processes of re- semantization that we could define as authorial, operated in order to subsequently modify structure and balance of already published texts. If texts, within a culture, have a statute of stability, due to their cultural enhancement over time, to what extent is it then possible, or legitimate, modifying – over time – a text, without altering its identity? The article focuses in particular on the field of popular music, and more generally on the peculiarities of media texts, as they are susceptible to being disjointed, reopened and reworked. Texts linked to technological supports defining a different relationship between textual configuration and material elements. The case of the Beatles’ album Let It Be and its various versions is taken into consideration, as well as the case of the film Blade Runner, characterized by numerous reissues to

Editing is anything: pratiche di video essay, tra semiotica ed estetica

L\u2019articolo prende in esame, mediante riferimenti metodologici alla semiotica e ai film studies, i meccanismi testuali del video essay, inseriti nella prospettiva di un\u2019evoluzione degli studi sul remix e sul remake, in quanto pratiche audiovisive della ricombinazione. Del video essay vengono descritti la volont\ue0 analitica tesa all\u2019approfondimento e alla spiegazione, attraverso una prassi collettiva del commento, e un patto comunicativo con i fruitori che, attraverso dinamiche di mediazione, tende a rendere evidenti, mediante l\u2019impiego della esemplificazione e della comparazione, gli impliciti dell\u2019opera analizzata. Collocando il fenomeno in una pi\uf9 ampia \u201clogica della selezione\u201d (Manovich) e della composizione, il video essay appare affine a una forma di tutorial che per\uf2, attraverso uno statuto ibrido posto tra l\u2019educational e l\u2019entertainment, mette in discussione l\u2019autorevolezza delle figure istituzionali legate al sapere audiovisivo.The article examines, through methodological references to semiotics and film studies, the textual mechanisms of video essay, placed in the perspective of an evolution of studies on remix and remake, as audio-visual practices of recombination. The essay describes the analytical will aimed at deepening and explaining, through a collective practice of commentary, and a communicative pact with the users which, through mediation dynamics, tends to make clear, using exemplification and comparison, the implicit elements of the analysed work. By placing the phenomenon in a broader selection and composition logic (Manovich), the video essay appears similar to a form of tutorial that, however, through a hybrid statute placed between educational and entertainment, calls into question the authority of the institutional figures linked to audio-visual knowledge

Spaziante-Fashion Film: logiche testuali e innovazione del linguaggio audiovisivo

L'articolo è parte obbligatoria della Seconda parte del programma d'esame 2017-201

LUCIO DALLA, PER BREVITÀ CHIAMATO CANTAUTORE

The role of cantautore has occupied a significant space in Italian musical culture (especially in the period between the 1970s and the 1980s) and has defined a fairly well-defined and recognizable form of cultural expression. For a brief period Lucio Dalla has identified himself, or rather he was identified, with the cantautore label, of which the article also specifies some peculiar features, as the analysis of Dalla’s figure is also an opportunity to ask how well this label fits him. The topic is approached from a semiotic perspective, that is, by trying to identify the different positions that Lucio Dalla held in his artistic path, through the identity traits that defined him, considering the literature him dedicated, in his old and recent interviews, as well as in the endless narratives that working partners, friends and journalists have produced. Lucio Dalla has been an artist who struggled enormously to achieve success: a journey of difficult search for artistic identity, which, once defined, became profound and enduring, and continued to grow even after his untimely death in 2012. This approach seems an interesting way of being able to look at artistic and creative processes, showing them as semiotically dense processes, involving a range of actors and leading to the production of specific discursive configurations

Eco capitolo Segno

Si tratta di un estratto utile ad approfondire la nozione di segno e inferenza, non obbligatorio per l'esame