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Cinéma & Cie. Film and Media Studies Journal
Università Cattolica del Sacro Cuore, Milano: Research Programs
Text.Serial.Journal
https://riviste.unimi.it/index.php/cinemaetcie
6
Projects & Abstracts
2006-10-01
2023-10-10
2006-10-01
2024-02-14
Cinéma & Cie
2006/10/01
2036-461X
8
en
Università Cattolica del Sacro Cuore, Milano: Research Programs
https://riviste.unimi.it/index.php/cinemaetcie/article/download/21409/19009
6
UNIVERSITÀ CATTOLICA DEL SACRO CUORE, MILANO
DIPARTIMENTO DI SCIENZE DELLA COMUNICAZIONE
E DELLO SPETTACOLO
RESEARCH PROGRAMS




Introduction

 The Department was set up back in November 1999. following the success of the
Media and Communication Research Institute crated by Prof. Gianfranco Beticalini in
1982, which carried on the tradition of the Centre for Excellence in Journalism and
Audiovisual Media (currently known as "Centre los Excellence in Media, Arts and
Communication") established - back in 1961 - by Mario Apollonio, l'rofessor of
Philology and drama historian.


Structure and activities

  The Department operates in the centres established in Milan and Brescia.

Scientific and professional work
  The scientific work is the result of the convergence of different theorctical and empir
ical rescarch trends and expertisc, focusing on historical, semiotic, sociological and
anthropological guidelines.
  Particular interests pertaining to this background are: intersemiotic translations;
technology and media culturc; representation forms and film consumption; represen
tation forms and TV consumption.
  The Department contribution plays a central role in the educational programs with.
in several Faculties: Humanitics, Modern Languages, Social Sciences and Education. Is
aim is to develop connections with other research centres and cultural backgrounds.
This is achieved thanks to seminars, meetings and conferences organized both nation-
ally and internationally.
  TV, cinema, press and communication professionals are also involved in the
work, or lecture on a fixed term contract for different BA and postgraduate study pro
 grammes. The Department is proud to rely on some of the best professionals who are
currently working in the communication fields in Italy.

Ph. D. projects
  The Uepartment also organizes two Ph.D. projects:
 • Communication cultures
 • Philosophy. Arts and Theatre (in association with the Philosophy Department and
    the History of Art Institute).

225                                                         CINEMA & Cie, no. 8, Fall 2006
                                                UNIVERSITÀ CATTOLICA DEL SACRO CUORE, MILAN


   The Ph.D. in Communication Cultures assigns great relevance within a media con
 text to communicative acting as well as to the receiver role in order to understand the
 processes of transformation of the media system and its social roots. Rescarch fields are
 conscquently also media contents and forms, the cultural networks, which give sense
 to communicative acting, both as production and consumption modes, and the onto.
 logical, anthropological and chical foundations of this acting.
   The Ph.D. in Philosophy, Arts and Theatre combines widespread competences in
 Philosophy and Acsthetics with a higher level training in methodology of theatrical
 criticism and drama historiography. Preferential issues of rescarch are life performanc
 es; particular interests referring to this background are: theatre within the Milan sur-
 rounding through the s7th and 18th centuries; "Theatre of pity" in medieval Europe;
 the European dramatic canon: history ad texts; the intersection between Performing
 Aris and the other arts.

 Publications
  The Department provides two publishing collections.
   The series Media, spettacolo e processi culturali is published by the official University
 publisher Vita c l'ensicro, as a periodic update of the analyses carried out within the
 same Department.
   The four monthly review Comunicazioni sociali is also published by Vita e Pensiero
 and fcatures monographic studics reporting on specific rescarch arcas and issuing in-
 depth discussions on mass communication, media studies, ethics and cultural anthro.
 pology.

 Other Activities
  Also connected with the Department's activitics arc
 • a postgraduate school, the "Centre for Excellence in Media, Arts and
     Communication", offering higher education and training for media studies, busi
     ness communication, cultural, social and media events;
  • a media and communication rescarch centre, OssCom. Set up in 1994. OssCom
     focuses on the processes of transformation within cultural industry and the media
     in Italy. Offering a wide range of methodological approaches, OssCom succeeded as
     a bridge between academic rescarch and professionals and offers an educational
     training for junior rescarchers.


 Research Fields

   Four main areas define the research and are the backbone of the overall Department
  organization:
• Media Theory and Practice
• Film Studies and TV Studies
• Drama and Performing Arts Theory
- Semiotics

 Media Theory and Practice
  The main research issues for Media Theory and Practice are.

                                                                                       237
- on a macro basis the Department's rescarch work is characterized by a socio
  spruach to the media effects within sexicty and the chic related theoretic
  -on a micro basis the Ipartment's rescarch work focuses on consumption tak
  grounds and groups (ic: family). both from a theorctical and empirical perspectio
  on an intermediate level the Department's research work carrics out analyses cf the
  feat contest relationship.
 These issues have develoned saecific rescarch trends:
  theosstical apraach based on aesthetic and hermencutic instruments and aralicd:
   the most impartant crumples of contemporary drama production:
   research work focusing on the national broadcaster in Italy:
   analysis of TV schedules in relation to social times and national identity is urs;
- historical and socio semiotic approach to the study of cultural industries:
   study of the linguistic and technological penciration of new mcdia:
   media studics and interculturality: analysis of the selationship betu sen traditical
     and new media and cultural identitics:
  media and immigration: integration and discourse:
      -fibics and communication: communication and politics in l'urope;
  music and TV TV and consumption habits: reconstructing family valucs.

 frient rublications
  F. Aroldi, La To risorsa educativa. Uno sguardo familiare calla tolerisione (Milano:
 San Paolo. ¿004)
  r. Aro!di (a cura di). Il gioco delle recole. To c tuicla úci minori in sci paesi curopoi
 (Milano: Vita e Pensicro, 2003)
   F. Colombo, Introduzione allo studio dci media (Roma: Carocci, 2003)
   F. Colombo (a cura di), Tv and Interactivity in Europe (Milano: Vita e Pensicro, 2004)
   F. Colombo, R. Lugeni (a cura di), Il prodotto culturale: teorie, recniche di analisi, case
 kivories (Roma: Carocci, :001)
F. N. Vittadini (a cura di). Digitizing To. Theoretical issues and comparative
           Colombo.
  studies 2cross Europe (Milano: Vita c l'ensicro, 2006)
   C Giaccardi, M. Magatti, L'lo globale (Roma Bari: Laterza, 2003)
  C. Giacardi, La comunicazione interculturale (Lologna: Il Mulino, 2005)
  B. Seila., Culture mobili. Ricerche sulladozione siovanile della telefonia cellulare
    (Yano. Vila c l'ensiero, 2005)
 5. Iversi, Jentita virtuali. Comunicazione mediata da computer e processi di
 contrari, as dellidentita personale (Milano: Franco Angeli, 2004)
 !.s. ba"la la cera di). Dal rito all'evento (Milano: U'nicopli, 2005)
 o wread mi (a vera da). Dialoghi in rete, "Comunicazioni Sociali," : (2002).


                 Ill'studies
                       its withinthe area of film studiesand TV Studies are sharacterized

                          ah based on a sario semiotic research marked by an in depth
                            •Artiren audiosisual texts (film. TV programmes) and the
                                Panels:ss el the seat megning and its inplications within a
                                                 UNIVERSITÀ CATTOLICA DEL SACRO CUORE, MILANO


   •a historical approach;
• a theoretical and empirical research on TV and cinema consumption practices.

  The theoretical and methodological researches led within this area are
 on the following issues:
• the relationship between cinema, the cultural turns of modernity and technology
   issues:
• cincma and questions of cultural and national identity;
• the film genre system and other film production models (institutional productions,
    cducational ones, home-movies);
• historical analysis of the Italian broadcasting system;
• Iclevision genres;
• fiction and marration: the impact on the audience's values and life-style;
    •analysis of "consumption memories" according to different age groups in order to
    understand the role of media within the organization of a shared collective imagery,
    together with the creation of specific generational identities.

 Recent publications
  F. Casetti, Communicative Negotiation in Cinema and Television (Milano: Vita e
 Pensiero, 2002)
   F. Casetti, L'occhio del Norecento (Milano: Bompiani, 2005)
   F. Casetti, M. Fanchi (a cura di). Terre incognite. Lo spettatore italiano e le nuove
 forme dell'esperienza di visione del film (Roma: Carocci, 2006)
   F. Casetti, E. Mosconi (a cura di). Spettatori italiani. Riti e ambienti del consumo cine-
 matografico (1900-1950) (Roma: Carocci, 2006)
   R. Eugeni, La relazione d'incanto. Studi su cinema e ipnosi (Milano: Vita e Pensiero,
 2002)
   M. Fanchi, Spettatore (Milano: Il Castoro, 2005)
   A. Grasso, MI. Scaglioni, Che cos' la televisione (Milano: Garzanti, 2003)
   A. Grasso, Storia della televisione italiana (Milano: Garzanti, 20043)
   M. Locatelli (a cura di). Civiltà delle macchine. Il cinema italiano e le sue tecnologie,
  "Comunicazioni Sociali," I (2004)
   E. Mosconi, L'impressione del film. Contributi per una storia culturale del cinema
 italiano (Milano: Vita e Pensiero, 2006)
    M. Scaglioni, Tv di culto. La serialità televisiva americana e il suo fandom (Milano:
 Vita e Pensiero, 2006)
    G. Simonelli (a cura di). Speciale TG. Forme e tecniche del giornalismo televisivo
 (Novara: Interlinea, 2005)


 Drama and Performing arts Theory
    Contents and research methodology within the area of Drama and Performing Arts
  Theory are the following:
• theoretical approach based on aesthetic and hermeneutic instruments and applied to
    the most important examples of contemporary drama production;
• hermeneutic and anthropological approach;
• historical approach:
                                                                                         233
- operational methodolog; based on workshops, lab
• cultural analysis,
• theatre organization and management.

    The theoretical and empirical research has been developing a focus on the follo
 subjects and experiences:
• performance and communicational diversity:
• the stage as background of the ars una. aesthetic groundings, historical models and
    contemporary trends in the interaction among arts:
• the European drama canon: contexts, techniques and main issues;
• tragedy; study of the organization of theatres in Milan from the late 16th to the 3ath
    century:
• ancient drama workshops, creative drama workshops, staging workshops, manage
   ment and communication laboratory for the cultural industry:
•   "Crucifixus, spring festival of drama, music and religious traditions".

 Recent Publications
    C. Bernardi, I/ teatro sociale. L'arte tra disagio e cura (Roma: Carocci, 2004)
    C. Bernardi, C. Susa (a cura di), Storia essenziale del (catro (Milano: Vita c lensicro, 2005)
    R. Carpani, Drammaturgia del comico. I libretti per musica di Carlo Maria Magginci
    "theatri di Lombardia"(Milano: Vita e lensicro, 1998)
    A. Cascetta, Il tragico e l'umorismo. Studio sulla drammaturgia di Samuel Beckett
 (Firenze: Le Lettere, 2000)
  A. Cascetta, L. Peja (a cura di), La prova del Nove. Scritture per la scena e temi epocali
 nel secondo Novecento (Milano: Vita e lensicro, 2005)
    A. Cascetta, La Passione dell'uomo. Voci dal leatro europeo del novecento (Roma:
 Studium, 2006)
    G. Zanlonghi (a cura di), Tradizione e traduzioni. La cultura leatrale italiana fra clas-
 sicismo e modemita, "Comunicazioni Sociali," 2 (2004)



 Semiotics
    The research projects within the area of Semiotics are marked by three main
 approaches:
• a theoretical approach on semiotics and its relations with philosophy. literature and
    other humanistic sciences;
• a theoretical approach to the status of the image and the relationship between word
    and vision;
• an empirical research work based on the instruments of the semiotic analysis applied
   to different texts, providing a complex investigation on the various languages of com
   munications and the media (including cinema, TV, advertising and the press).

    The theoretical and empirical research has been concentrating on the following sub
 jects and experiences:
• narrative structures of audiovisual texts (Films, TV movies and series) and different
    creative experiences of screen writing,


DA0
                                                 UNIVERSITÀ CATTOLICA DEL SACRO CUORE, MILANO


- investigation on the criteria of creation and analysis of advertising campaigns (with
   special interest for fashion, new technologies and top sales products);
• television genres; rhetorical roots of communication theories within Modernity.
   from late Renaissance on; focus on the relationship between semiotics, anthropology,
   psychology of cognition in relation to text and spectator.

 Recent publications.
   G. Bettetini, S. Cigada, E. Rigotti, S. Raymaud, Semiotica (Brescia: La Scuola, 2003)
   G. Bettetini, P. Braga, A. Fumagalli (a cura di), Le logiche della televisione (Milano:
 Franco Angeli, 2004)
   R. Eugeni, Film, sapere, società: per un'analisi sociosemiotica del testo cinematografi-
 co (Milano: Vita e Pensiero, 1999)
  A. Fumagalli, I vestiti nuovi del narratore. L'adattamento da letteratura a cinema
 (Milano: Il Castoro, 2004)
  A. Fumagalli, L. Cotta Ramosino (a cura di), Scegliere un film 2005. (Milano: Ares,
 2005)
  S. Petrosino, Babele. Architettura, filosofia e linguaggio di un delirio (Genova: Il
 Melangolo, 2003)
  S. Petrosino, Piccola metafisica della luce (Milano: Jaca Book, 2004)




                                                                                       249
 UNIVERSITÀ CATTOLICA DEL SACRO CUORE, MILANO



 UNIVERSITÀ CATTOLICA DEL SACRO CUORE, MILANO
 DISCUSSED PH.D. THESIS - 2004-2005




 2004
 Bellavita, Andrea, Cinema e Unheimliche. Per un applicazione del concetto di
Unheimliche all'enunciazione filmica (tutor R. Eugeni)

Di Marco, Maria Teresa, La competenza fisionomica nella ricczione dei media. In cerca
della ragazza acqua e sapone nel cinema italiano dei primi anni Cinquanta (tutor R.
Eugeni)


Satta, Maria Nevina, Filmare le culturc. Il problema della rappresentazione nel cinema
antropologico: l'esperienza registica di Diego Carpitella (tutor F. Cascti)

Sfardini, Anna, Performing audiences. Una ricerca qualitativa sul pubblico partecipante
della reality tv (tutor F. Colombo)



2005
Facchinotti, Lorenzo, L'industria delle note. L'influsso della digitalizzazione sul sistema
musicale italiano: 1994-2004 (tutor E. Colombo)

Malavasi, Luca, Passioni, emozioni e affetti nel cinema. Una prospettiva fenomenologi
ca (tutor F. Casetti)

Scaglioni, Massimo, Esperienze di fandom. Economia culturale, consumo affettivo e
testualità di culto nell'epoca della convergenza mediale (tutor A. Grasso)

Stefanelli, Matteo, Culture e pratiche del consumo di fumetto in Italia. Una ricerca etno.
grafica sul pubblico urbano giovanile (tutor F. Colombo)




242
                                                UNIVERSITÀ CATTOLICA DEL SACRO CUORE, M


UNIVERSITÀ CATTOLICA DEL SACRO CUORE, MILANO
PH.D. THESIS - 2006-2007




2006
Cati, Alice, Pellicole di ricordi. Le figure della memoria nel cinema amatoriale, 1926-
1942 (tutor F. Casetti)

Toschi, Deborah, Strategie comunicative per il pubblico rurale tra le due guerre (tutor E.
Casetti)


2007
Asti, Matteo, Cinema e pedagogia: quadri teorici, produzione audiovisiva e progetti for
mativi (tutor F. Casetti)

Carini, Stefania, La narrazione multi-piattaforma: la serialità fra vecchi e nuovi media
(tutor A. Grasso)

De Leonardis, Maria Chiara, Le strutture narrative del cinema d'animazione: il caso
Pixar (tutor A. Fumagalli)

Locatelli, Elisabetta, Blog e rimediazione sociale(tutor E. Colombo)

Morteo, Marzia, Il webcinema: linee evolutive e aspetti pragmatici (tutor F. Casetti)

Manzi, Luca, Le problematiche produttive della fiction italiana (tutor F. Colombo)




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UNIVERSITÀ CATTOLICA DEL SACRO CUORE, MILANO


PASSION AND EMOTIONS IN THE CINEMA.
A PHENOMENOLOGICAL PERSPECTIVE
Luca Malavasi / Ph.D. Thesis Abstract
Universita Cattolica del Sacro Cuore, Milano




  The starting point of my research is the less than obvious, yet scarce attention that
cinema studies pay to feelings and emotions, both from the ictual and the audience's
point of view.
  Yet, cinema, since its origin, is an extraordinary emotional machine: it attracts and
involves us, it affects us so deeply that we often identify, both cmotionally and cogni
tively, with the characters on the screen and we live through their experiences long
after the end of the show.
  Regardless of genre, place and time, whaterer relation spectator and screen, films and
society, cinema turns out to be above all an emotional machine. Emotion is its dramat
ic object, its logic, its goal and maybe its ontology: The role itself it plays in any given
social and cultural context, appears not only "idcological" but also, if not mostly, "emo
tional: it measures the emotional "temperature" of a society and spreads ideology
through the emotional.
 Notwithstanding, the emotional content of cinema has been usually ignored, if not
denied, in favour of the cognitive and linguistic ones. Since 1978, though, Nelson
 Goodman warned about the separation between cognitive and emotional, pointing out
 that, in any given aesthetic experience, emotions work cognitively and senses and feel
 ings carry out an essential function. So, beside emotions and fecling involved in cine.
 ma, my dissertation explores the role of perception and senses in the cinematic experi
 ence as well.
   The first part of my dissertation is divided into three sections, each focused on a spe.
 cific topic. The first section deals with the apparatus and its ontological, emotional
 nature - in this case, feeling appears as a specific property of the machine, its truth and
 its "fullness" and discusses the theories of Hugo Münsterberg ("The mercy of appara-
 (us"). Jean Epstein (and his idea of the elation of cinema) and Edgar Morin (with his
 complex theory about the emotion, imaginary and cinema).
   The second section examines the figures of emotion: namely the rhetoric of cinemat-
 ic language, its emotional power and the specific figures in which cinema creates an
 emotional contents, either by exploiting its technical resources, or by enhancing the
 cultural, artistic and aesthetic context. Here the theoretical approach changes: semi
 otics sets the key tune, along with the conceptual tools designed by the Greimas
 for the textual analysis. Accordingly, I explain the emotional property of cinema by
 examining three figures: the close-up (discussing the ideas of Balázs, Barthes, Bonitzer,
 Deleuze, Epstein), the *ecstasy of editing" in Ejzenstejn and the role of the music.
   Finally. the third section is dedicated to the spectator's feelings in relation with the
 screen - Le. with the diegetic universe (story and characters) and the technical proper.
                                                 UNIVERSITÀ CATTOLICA DEL SACRO CUORE, MILANO


ty of the projection. Addressed from a cogmitive point of view (Bordwell, Grodal,
 Plantinga, Smith, Tan, Turvey etc), this topic is dealt with by focusing on the "reason of
 the emotion" and the role of feeling in filmic comprehension and in the involvement of
 the spectator. More specifically. I discuss the problem of the authenticity of the imagi
 nation; the role of the character as a vehicle for the feelings; the notion of empathy (ver-
 sus identification); the function and the utility of emotions.
   In the second part of the dissertation, the focus shifts on cognitivism's attention to the
role of perception and senses in the construction of meaning. Here I broaden the dis-
cussion from emotions to perceptual live, especially focusing on the notion of body: its
role in the process of constructing the meaning, conceptualizing the experience, organ-
zing memory and reacting to stimuli produced by the screen.
   Finally, in the two last chapters I advance a new theoretical interpretation of the rela-
lionship between screen and spectator. By linking the results of the first part of disser-
tation to the results of the second, I propose the following three focus points and draw
some conclusions:
    -the connected body and the "regime of affection": here, I consider the perceptual life
of the body, its reaction to the material quality of the screen and the sensuosity of its
objects (light, rhythm, colours etc), the nature and role of the connection that links
spectator and film;
   -the living body and the "regime of emotion": here I study the cinematic experience
as a body experience. By revising the theory of enunciation (Jost, Sobchack and
Fontanille), I refocused the contact between the image (its internal logic and grammar)
and the spectator (body but also reason) as a perceptual experience in which the spec-
tator lives as another body, constructed in the middle of technical constraint and
human configuration. Emotion arises from the comparison between a specific experi
ence of the body (real experience of the spectator) and a new experience, conveyed by
the cinematic body as defined by the enunciation. Further conclusions can be drawn by
exploring the idea that the figures of the body designed by a film enact models and
resources of cultural, social and perceptive knowledge,
 - the body represented and the "regime of passion": here I explore the ways emotion
contents are "sentimentalized" through the story and by the characters of the films and
I define passion the spectator's recognition of the "acceptability" of the cinematic emo
tion, compared to the real experience. This approach leads to the relevant topic of the
evaluation of the role played by cinema in the social construction of passions as cul
tural objects.




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                            MILLIO
UNTERSITA CATTOLICA CAL SACRO CUESE.


MEDIA CULT AND FANDOM EXPERIENCE
Massimo Scaglioni / Ph.D. Thesis Abstract
Università Cattolica del Sacro Cuore, Milano




  "Cult and "fandom" have recently become kcy concepts in Media studies.
  "Cult" - as it is used to define films, books, TV scrics, mcdia products « is a la
common as ambiguous: we are surrounded by "cult ohjects," embodying a sy
value that goes beyond their functional meaning. They become signs of belongin
identity for "communities of taste," for fan that make them an object of affect and a
ground of shared experience. Late moder media products show again their lost "aura."
  Who generates "cults?" This question re introduces some core problems for media
 and communication rescarch: how is the relation betwren media and their audience?
 Are media powerful machines able to impose not only their products, but the way to
 consume them? Or are media always flesed by needs and pleasures of specific audi
 ences? Have media cults a "material" consistence in lextual forms, so that they can be
 built deliberately in order to generate specific types of cultural consumption, or are
 they the output of gross roots practices of particular audience communities, fans and
 fan-cultures?
  The work of Massimo Scaglioni' analyses the way a specific area of media production
 has become "cult" and has generated fan cultures: the last generation of U.S. television
 series is the focus to understand changing production practices, new textual forms and,
 above all, the "experience of fandom.
   Particular focus is devoted to cultural and media experience of fans. In arguing about
 the necessity of going beyond the notion of "resistive" fan, as traditionally intended in
 cultural studies, this work tries to construct a more complex model of the relation
 between industry/mainstream/commercial media and fan cultures. It is doing adopting
 different qualitative research methodologies in attempt to define the practices and the
 cultural experience of a community of the fanta-horror series Buffy fan.

                                                                                  Aldo Grasso




• Now published as Tv di culto. La serialità televisiva americana e il suo fandom (Milano: Vita
    e Pensiero, 2006).




 248
                                                              UNIVERSITÀ DEGLI STUDI DI PISA


UNIVERSITÀ DEGLI STUDI DI PISA
ACTIVITÉ DE RECHERCHE




 "@LF@BET@*
Le donne migranti e le tecnologie dell'informazione e della comunicazione attra-
verso le reti territoriali

    Le projet "@lf@bet@". Les femmes migrantes et les technologies de l'information et
 de la communication à travers les réseaux territoriaux concerne une recherche sur les
 modalités d'accès aux TIC (Technologies de l'Information et de la Communication) par
 les populations défavorisées. La participation du Corso di Laurea en "Cinéma, Musique,
Théâtre", Faculté de Lettres, Université de Pise, concerne notamment la recherche sur
les "bonnes pratiques" des institutions du territoire de Pise et de l'Université de Pise en
ce domaine.
    En partenariat avec:
  - Associazione Formazione 80, Turin
  - "Heure Exquise! Distribution", France
  - Corso di Laurea in Cinema, Musica, Teatro, Facoltà di Lettere, Università degli Studi
     di Pisa (Dipartimento di Storia delle Arti)
  - Institute of Long- Life Learning, Slovak technology University
     -NLCEN-North London College European Network, Londres


Media Education

  Le projet concerne la, constitution d'un centre multimédia à Nanno (Trento), sur
initiative de la Coopérative "La Coccinella" (Cles), Formazione 8 (Torino) et les
Municipalités du territoire concerné. Le partenariat du Corso di Laurea en "Cinéma,
Musique, Théâtre", Faculté de Lettres, Université de Pise, concerne notamment des pro-
jets de réalisation vidéo, recherches sur la mémoire des lieux, ateliers pratiques avec la
participation pour ces projets de stagiaires et diplômés.




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