Framing Death. La morte in diretta, tra cinema e media digitali

Come dimostrano i sempre più numerosi casi di cronaca riportati dai notiziari, la preoccupazione per la gestione delle immagini di morte si configura come un nodo centrale che coinvolge spettatori, produttori di contenuti e broadcaster, dato che la sua emersione nel panorama mediale in cui siamo immersi è sempre più evidente. Se la letteratura socio-antropologica è generalmente concorde nel ritenere che, rispetto al passato, oggi la morte si manifesti con meno evidenza nella vita comune delle persone, che tendono a rimuovere i segni della contiguità vivendo il lutto in forma privata, essa è però percepita in modo pervasivo perché disseminata nei (e dai) media. L'elaborato, concentrandosi in maniera specifica sulle produzioni audiovisive, e quindi sulla possibilità intrinseca al cinema – e alle sue forme derivate – di registrare un evento in diretta, tenta di mappare alcune dinamiche di produzione e fruizione considerando una particolare manifestazione della morte: quella che viene comunemente indicata come “morte in diretta”. Dopo una prima ricognizione dedicata alla tensione continua tra la spinta a considerare la morte come l'ultimo tabù e le manifestazioni che essa assume all'interno della “necrocultura”, appare chiaro che il paradigma pornografico risulta ormai inefficace a delineare compiutamente le emersioni della morte nei media, soggetta a opacità e interdizioni variabili, e necessita dunque di prospettive analitiche più articolate. Il fulcro dell'analisi è dunque la produzione e il consumo di precisi filoni quali snuff, cannibal e mondo movie e quelle declinazioni del gore che hanno ibridato reale e fittizio: il tentativo è tracciare un percorso che, a partire dal cinema muto, giunga al panorama contemporaneo e alle pratiche di remix rese possibili dai media digitali, toccando episodi controversi come i Video Nasties, le dinamiche di moral panic scatenate dagli snuff film e quelle di contagio derivanti dalla manipolazione e diffusione delle immagini di morte.

Nothing ever ends: il concetto di fine negli universi seriali

L'oggetto principale di questa tesi è il concetto di fine negli universi seriali. Spesso si intende il “The End” in un romanzo o in un film come un momento climatico, e che i finali sono collegati ad una teleologia che guida il testo nel suo insieme. Come risultato di questo modo di approcciare i finale, una delle opinioni più comuni è simile a quella di Henry James [1884] che diceva: “distribution at the last of prizes, pensions, husbands, wives, babies, millions, appended paragraph, and cheerful remarks”. Ma è molto difficile applicare la posizione di James a un romanzo modernista o a un film postmoderno e ancor ameno ai cosiddetti universi narrativi seriali, in cui la storia si sviluppa lungo decenni. Nel nostro contemporaneo panorama mediale, il testo non è più concepito come un'opera, ma deve essere costruito e concepito come un network, un ecosistema in cui nuove connessioni economiche e nuove relazioni bottom-up modellano una struttura inedita. Questa nuova struttura può riconfigurare il senso del finale e della fine, ma anche per le vast narratives spesso si dice che “Il finale non corrispondeva alla spirito della storia”, “il finale era deludente”. Potremmo sostenere che il concetto di finale sia ancora importante, nonostante sia stato superato dal punto di vista teorico. Per analizzare se il finale è costruito in un maniera non-lineare ma percepito come teleologico, la tesi è strutturata in due parti e di quattro capitoli. Prima parte “Storia” [1. Letteratura; 2. Cinema], seconda “Forme/strutture” [3. Transmedia; 4. Remix]

Uptake mechanism, intracellular trafficking and endo-lysosomal pH monitoring of polystyrene nanoparticles

What is the intracellular fate of nanoparticles (NPs) taken up by the cells? This question has been investigated for polystyrene NPs of different sizes with a set of molecular biological and biophysical techniques.rnTwo sets of fluorescent NPs, cationic and non-ionic, were synthesized with three different polymerization techniques. Non-ionic particles (132 – 846 nm) were synthesized with dispersion polymerization in an ethanol/water solution. Cationic NPs with 120 nm were synthesized by miniemulsion polymerization Particles with 208, 267 and 603 nm were produced by seeding the 120 nm particle obtained by miniemulsion polymerization with drop-wise added monomer and polymerization of such. The colloidal characterization of all particles showed a comparable amount of the surface groups. In addition, particles were characterized with regard to their size, morphology, solid content, amount of incorporated fluorescent dye and zeta potential. The fluorescent intensities of all particles were measured by fluorescence spectroscopy for calibration in further cellular experiments. rnThe uptake of the NPs to HeLa cells after 1 – 24 h revealed a much higher uptake of cationic NPs in comparison to non-ionic NPs. If the same amount of NPs with different sizes is introduced to the cell, a different amount of particles is present in the cell medium, which complicates a comparison of the uptake. The same conclusion is valid for the particles’ overall surface area. Therefore, HeLa cells were incubated with the same concentration, amount and surface area of NPs. It was found that with the same concentration always the same polymer amount is taking up by cells. However, the amount of particles taken up decreases for the biggest. A correlation to the surface area could not be found. We conclude that particles are endocytosed by an excavator-shovel like mechanism, which does not distinguish between different sizes, but is only dependent on the volume that is taken up. For the decreased amount of large particles, an overload of this mechanism was assumed, which leads to a decrease in the uptake. rnThe participation of specific endocytotic processes has been determined by the use of pharmacological inhibitors, immunocytological staining and immunofluorescence. The uptake of NPs into the endo-lysosomal machinery is dominated by a caveolin-mediated endocytosis. Other pathways, which include macropinocytosis and a dynamin-dependent mechanism but exclude clathrin mediated endocytosis, also occur as competing processes. All particles can be found to some extent in early endosomes, but only bigger particles were proven to localize in late endosomes. No particles were found in lysosomes; at least not in lysosomes that are labeled with Lamp1 and cathepsin D. However, based on the character of the performed experiment, a localization of particles in lysosomes cannot be excluded.rnDuring their ripening process, vesicles undergo a gradual acidification from early over late endosomes to lysosomes. It is hypothesized that NPs in endo-lysosomal compartments experience the same change in pH value. To probe the environmental pH of NPs after endocytosis, the pH-sensitive dye SNARF-4F was grafted onto amino functionalized polystyrene NPs. The pH value is a ratio function of the two emission wavelengths of the protonated and deprotonated form of the dye and is hence independent of concentration changes. The particles were synthesized by the aforementioned miniemulsion polymerization with the addition of the amino functionalized copolymer AEMH. The immobilization of SNARF-4F was performed by an EDC-coupling reaction. The amount of physically adsorbed dye in comparison to covalently bonded dye was 15% as determined by precipitation of the NPs in methanol, which is a very good solvent for SNARF-4F. To determine influences of cellular proteins on the fluorescence properties, a intracellular calibration fit was established with platereader measurements and cLSM imaging by the cell-penetrable SNARF-4F AM ester. Ionophores equilibrated the extracellular and intracellular pH.rnSNARF-4F NPs were taken up well by HeLa cells and showed no toxic effects. The pH environment of SNARF-4F NPs has been qualitatively imaged as a movie over a time period up to 1 h in pseudo-colors by a self-written automated batch program. Quantification revealed an acidification process until pH value of 4.5 over 24 h, which is much slower than the transport of nutrients to lysosomes. NPs are present in early endosomes after min. 1 h, in late endosomes at approx. 8 h and end up in vesicles with a pH value typical for lysosomes after > 24 h. We therefore assume that NPs bear a unique endocytotic mechanism, at least with regards to the kinetic involvedrn

La kryptonite nella borsa: Proposta di traduzione e sottotitolaggio verso l'inglese

A translation of some chapters of the book "La kryptonite nella borsa” by Ivan Cotroneo and subtitles for the equivalents scenes in the movie “La kryptonite nella borsa”. A translation of cultural references from Italian into English without adapting them to the target culture.

Sachbuch und Film im 'Dritten Reich' /// Arbeitsblätter für die Sachbuchforschung ; 24

Dieser Aufsatz setzt sich mit dem Medienverbund Sachbuch und Film im Kontext des ‚Dritten Reiches‘ auseinander. Dabei wird berücksichtigt, dass es sich bei dem Begriff Sachbuch in diesem Kontext um ein anachronistisches Konzept handelt, da dieser Begriff erst im Zuge von Debatten in den 1950er und 1960er Jahren überhaupt benutzt wurde. Der Sachbuch-Begriff wird verwendet um eine Reihe von Büchern zu beschreiben, die im Verbund mit dem dokumentarischen Filmgenre Kulturfilm, und dabei insbesondere dem Subgenre des Kolonial- und Expeditionsfilms entstanden. Anhand dieser und einiger weiterer Beispiele wird aufgezeigt, wie das Zusammenspiel der unterschiedlichen Medien funktioniert und eruiert welche Eigenschaften diese Sachbücher aufweisen. Letztendlich wird eine nähere Subgenre-Bestimmung für diese Sachbücher vorgeschlagen.

Paradigma Babylon: Rezeption und Visualisierung des Alten Orients im Spielfilm

Die Dissertation erschließt einen bislang unberücksichtigten Teil der Filmgeschichte: die cinematische Adaption altorientalischer Sujets in Gestalt monumentalistischer Bild-Epen. Die Arbeit ist in drei Teile gegliedert: Die erste beleuchtet die Entwicklung des westlichen Orientalismus mit Augenmerk auf den Alten Orient anhand biblischer und antiker Quellen, orientalischer Märchen, Reiseberichte, Malerei, Operngeschichte und, schlaglichtartig, weiterer kulturhistorischer Gebiete. Hinzu kommen die neuen, Fachwelt wie Öffentlichkeit überwältigenden, Erkenntnisse durch die Archäologie im 19. und frühen 20. Jh. Teil II konzentriert sich auf die Analyse von Stummfilmen, die die altorientalische Antike oder alttestamentliche Quellen mit Bezug zum Alten Orient thematisieren. Diese stammen aus Frankreich, Italien, Österreich und den USA. Dabei konnte herausgearbeitet werden, dass bis zum Jahr 1914 die französischen Produktionen dem Selbstverständnis nach eher dem Genre Historienfilm unterstanden, die italienischen wiederum dem Genre des, zunehmend spektakulärer werdenden, Antikfilms. Der von beiden Filmstandorten seinerseits zwar beeinflusste frühe amerikanische Film basiert hingegen vor allem auf dem protestantischen Bibelverständnis der eigenen Landesgeschichte und Religiosität. Ein eigenes Kapitel widmet sich Griffiths Babylon(kon-)version in INTOLERANCE aus dem Jahr 1916, bei dessen Untersuchung nicht nur die archäologischen, sondern auch sämtliche historischen wie literarischen Bezüge erstmals auf ihre Quellen zurückverfolgt wurden und bis dahin vorhandene Widersprüche somit geklärt werden konnten. Griffiths Interpretation der Quellen trug dazu bei, dass Babylon bzw. sein Mythos zum ersten und letzten Mal eine positive Konnotation erfuhr. Ein weiterer Schwerpunkt bis zum Jahr 1928 liegt auf der gender-Thematik, speziell auf der femme fatale in Gestalt von historischen, legendären und fiktiven altorientalischen Frauenfiguren wie der Königin von Saba, Delilah, Judith oder Semiramis. Darüber hinaus spiegeln die Filme der 1920er Jahren auch das Bild vom Neuen Babylon. Bis zum Ende der Stummfilmzeit kann abschließend von einer direkten Traditionslinie zu den Klischees des Orientalismus sowie zum Assyrian revival des 19. Jh. gesprochen werden. Dies ändert sich im dritten Teil der Arbeit, der sich mit der zweiten Blütezeit des Monumentalfilms während der 1950er und 1960er Jahre befasst. Teil III enthält daher sämtliche, heute noch verfügbaren Tonfilme, die den Alten Orient rezipieren. Diese entstammen den Produktionsstätten Hollywood und Cinecittà. Was die US-Filme betrifft, so konnte erneut ein Fokus auf dem amerikanischen Bibelverständnis herausgearbeitet werden, diesmal jedoch speziell auf dem Antagonismus zwischen Babylon und Zion. Denn dieser diente seitens der Regisseure auch der Legitimation der zeitgenössischen Nahostpolitik aus der Geschichte heraus. Darüber hinaus spiegeln die antiken Frauenfiguren die Rolle der Frau in der amerikanischen Gesellschaft während dieser Zeit. Die italienischen Produktionen dieser Jahre hingegen zeigen, so konnte dargelegt werden, dass diese Filme die altorientalische Antike vielmehr dergestalt inszenieren, wie sie bereits seit Jahrhunderten vor allem durch die griechisch-römische Geschichtsschreibung, Literatur und Operntradition Italiens Teil einer, nicht auf Moral basierenden, landestypischen Motivgeschichte gewesen war, derer sich auch der Film lustvoll bedient. Bei allen Produktionen wurden, als spezifische Aspekte, stets alle recherchierbaren Informationen zum Film, seiner Entstehung und seiner Handlung, zu seinen Kulissen und Kostümen, zu sämtlichen Inspirationsquellen sowie zeitgenössische Kritiken berücksichtigt. Die abschließenden Bewertungen innerhalb der einzelnen Filmkapitel fließen in einem Fazit zur jeweiligen Epoche ihrer Entstehung zusammen.

Wüsten, Palmen und Basare - Die cineastische Geographie des imaginierten Orients

Der Orient als geographischer Topos paust sich durch populäre Medien wie kaum ein anderer. Besonders das Kino vermag es diese Imagination aufscheinen zu lassen. Der cineastisch-imaginierte Orient existiert parallel zur Lebenswelt und konstituiert auf diese Weise eine ganz eigene Wirklichkeit. Gegenstand der Arbeit ist es die Konstruktionsprinzipien des cineastischen Orients zu entschlüsseln sowie eine dafür geeignete Analyseform zu entwickeln. Der Arbeit liegt ein Grundverständnis zugrunde, dass das Unterhaltungskino als ein besonderes Medium alltäglicher Imaginationen betrachtet und auf diese Weise Welt und Wirklichkeit generierend ist. Der empirisch-analytische Teil der Arbeit entwickelt aus tradiertem filmanalytischem Handwerkszeug eine geographische Filmlektüre. Die Analyse, bzw. Lektüre, der ausgewählten Filme durchleuchtet die vom Kino transportierten Mythen und die sich wiederholenden Narrative des cineastischen Orients. Die Lektüre orientiert sich dabei an visuellen und handlungszentrierten filmischen Topoi und liest diese als filmische Standardorte. Zudem werden existierende personengebundene Stereotype herausgearbeitet, die als Grundlage der Kreation des Anderen und als Konstruktionsprinzip des Fremden verstanden werden. Diese haben Konsequenzen für eine filmisch kommunizierte und geschaffene populäre Geopolitik und ermöglichen ein Verständnis der diskursiv-gesellschaftlichen Strukturen der Filme. Die innere Logik des cineastischen Orients ist dabei nicht nur auf Bilder oder nur auf die narrativen Elemente ausgerichtet, sondern erschließt sich aus deren Kombination. Die detaillierte Lektüre der in den Kommunikations-Prozess involvierten Sequenzen und Einstellungen zeigen schließlich, wie die globalen Bilderwelten des Kinos zum Bestandteil einer intermedial hervorgebrachten und im Laufe der Zeit gewachsenen Geographie geworden sind und welche Bedeutung und Funktion die filmimmanente Geographie für die Dramaturgie des cineastischen Orients besitzt.

When Beauty Goes to Sleep: an analysis of the symbolism behind the sleeping beauty tale

Approaching the world of the fairy tale as an adult, one soon realizes that things are not what they once seemed during story time in bed. Something that once appeared so innocent and simple can become rather complex when digging into its origin. A kiss, for example, can mean something else entirely. I can clearly remember my sister, who is ten years older than I am, telling me that the fairy tales I was told had a mysterious hidden meaning I could not understand. I was probably 9 or 10 when she told me that the story of Sleeping Beauty, which I used to love so much in Disney’s rendering, was nothing more than the story of an adolescent girl, with all the necessary steps needed to become a woman, the bleeding of menstruation and the sexual awakening - even though she did not really put it in these terms. This shocking news troubled me for a while, so much so that I haven’t watched that movie since. But in reality it was not fear that my sister had implanted in me: it was curiosity, the feeling that I was missing something terribly important behind the words and images. But it was not until last year during my semester abroad in Germany, where I had the chance to take a very interesting English literature seminar, that I fully understood what I had been looking for all these years. Thanks to what I learned from the work of Bruno Bettelheim, Jack Zipes, Vladimir Propp, and many other authors that wrote extensively about the subject, I feel I finally have the right tools to really get to know this fairy tale. But what I also know now is that the message behind fairy tales is not to be searched for behind only one version: on the contrary, since they come from oral traditions and their form was slowly shaped by centuries of recountals and retellings, the more one digs, the more complete the understanding of the tale will be. I will therefore look for Sleeping Beauty’s hidden meaning by looking for the reason why it did stick so consistently throughout time. To achieve this goal, I have organized my analysis in three chapters: in the first chapter, I will analyze the first known literary version of the tale, the French Perceforest, and then compare it with the following Italian version, Basile’s Sun, Moon, and Talia; in the second chapter, I will focus on the most famous and by now classical literary versions of Sleeping Beauty, La Belle Au Bois Dormant, written by the Frenchman, Perrault, and the German Dornröschen, recorded by the Brothers Grimm’s; finally, in the last chapter, I will analyze Almodovar’s film Talk to Her as a modern rewriting of this tale, which after a closer look, appears closely related to the earliest version of the story, Perceforest.

Analisi del film L'appartamento spagnolo: multilinguismo e comunicazione interculturale

The present research study focuses on intercultural communication and how its dynamics are portrayed in the Italian version of the movie L’appartamento spagnolo (original title: L’auberge espagnol) by Cédric Klapisch. The first chapter introduces the movie in all its main features, such as plot, setting, characters, languages, main themes, and sequels. The second chapter focuses on the dynamics of intercultural communication through the analysis of the most representative scenes of the movie. It is worth noting that the notion of intercultural communication comprises a lot of different kinds of communication, meaning not only communication among people coming from different countries and speaking a different language, but also among different generations, people with different social backgrounds, with a different social status, etc. However, language is indeed crucial to mutual understanding and it plays a fundamental role in communication. For this reason, the third chapter focuses on the multilingual dimension of the movie, since the issue of intercultural communication is also conveyed through a variety of languages. The aim is to analyze the different strategies used in the Italian dubbed version in order to manage the presence of different languages and to examine how such strategies affect the overall consistency of the dialogues and the effect achieved on the audience.

Song of the sea: proposta di sottotitolaggio e fansubbing a confronto

The aim of this thesis is to subtitle and analyze the subtitles of the animation movie directed by the Tomm Moore, Song of the Sea. It deals with the adventures of Saoirse, the last of the selkies, the mythological women who turned into seals, and his brother Ben to save the fairies and send them home. Although Italy is a “dubbing country”, I decided to subtitle the film not to affect the original audio track, as the Irish accent and Celtic melodies are a fundamental element in Song of the Sea. I chose this movie because it is a quality product (nominated in 2015 for "The Best Animation Movie”) which deserves to be commercialized outside film festivals. In a second phase, I analyzed my subtitles and compared them to amateur subtitles, created by the SRT Project group, to understand the strategies adopted and the basic differences between the two types of subtitling. My dissertation consists of three chapters. The first provides a general overview of audiovisual translation and language transfer methods, focusing on subtitling. The second chapter introduces the movie in an Irish context, and then analyzes the subtitling process, from the software used, to the translation strategies adopted. Finally, the third chapter describes the phenomenon of amateur subtitling, and the most important Italian communities of the current years. Moreover, I analyzed SRT Project fan translation, and asked them a set of questions about amateur subtitling and the translation of Song of the Sea, in order to understand this world and the fansubbing process. The Appendix includes my subtitles, as well as the questionnaire.

Mother-Child Spiritual Discourse: A Mixed Methods Study

Parents and children, starting at very young ages, discuss religious and spiritual issues¿where we come from, what happens to us after we die, is there a God, and so on. Unfortunately, few studies have analyzed the content and structure of parent-child conversation about religion and spirituality (Boyatzis & Janicki, 2003; Dollahite & Thatcher, 2009), and most studies have relied on self-report with no direct observation. The current study examined mother-child (M-C) spiritual discourse to learn about its content, structure, and frequency through a survey inventory in combination with direct video observation using a novel structured task. We also analyzed how mothers¿ religiosity along several major dimensions related to their communication behaviors within both methods. Mothers (N = 39, M age = 40) of children aged 3-12 completed a survey packet on M-C spiritual discourse and standard measures of mothers¿ religious fundamentalism, intrinsic religiosity, sanctification of parenting (how much the mother saw herself as doing God¿s work as a parent), and a new measure of parental openness to children¿s spirituality. Then, in a structured task in our lab, mothers (N = 33) and children (M age = 7.33) watched a short film or read a short book that explored death in an age-appropriate manner and then engaged in a videotaped conversation about the movie or book and their religious or spiritual beliefs. Frequency of M-C spiritual discourse was positively related to mothers¿ religious fundamentalism (r = .71, p = .00), intrinsic religiosity (r = .77, p = .00), and sanctification of parenting (r = .79, p = .00), but, surprisingly, was inversely related to mothers¿ v openness to child¿s spirituality (r = -.52, p = .00). Survey data showed that the two most common topics discussed were God (once a week) and religion as it relates to moral issues (once a week). According to mothers their children¿s most common method of initiating spiritual discourse was to repeat what he or she has heard parents or family say about religious issues (M = 2.97; once a week); mothers¿ most common method was to describe their own religious/spiritual beliefs (M = 2.92). Spiritual discourse most commonly occurred either at bedtime or mealtime as reported by 26% of mothers, with the most common triggers reported as daily routine/random thoughts (once a week) and observations of nature (once a week). Mothers¿ most important goals for spiritual discourse were to let their children know that they love them (M = 3.72; very important) and to help them become a good and moral person (M = 3.67; very important). A regression model showed that significant variance in frequency of mother-child spiritual discourse (R2 = .84, p = .00) was predicted by the mothers¿ importance of goals during discourse (ß = 0.46, p = .00), frequency that the mother¿s spirituality was deepened through spiritual discourse (ß = 0.39, p = .00), and the mother¿s fundamentalism (ß = 0.20, p = .05). In a separate regression, the mother¿s comfort in the structured task (ß = 0.70, p = .00), and the number of open-ended questions she asked (ß = -0.26, p = .03) predicted the reciprocity between mother and child (R2 = .62, p = .00). In addition, the mother¿s age (ß = 0.22, p = .059) and comfort during the task (ß = 0.73, p = .00) predicted the child¿s engagement within the structured task. Other findings and theoretical and methodological implications will be discussed.