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This article is a reflection on the documentary Alma no olho (1973) by Zózimo Bulbul. In the first part I make an analysis of the film to retain its main formal characteristi-cs. In the second, I describe the director’s trajectory and the context of the film’s production. Finally, I recover the discourses of the contemporary black cinematographic milieu that claim the film and its director to organize their demands in the cinematographic field, Cet article est une réflexion sur le documentaire Alma no olho (1973) de Zózimo Bulbul. Dans une première partie je fais une analyse du film pour en retenir ses principales caractéristiques formelles. Dans la seconde, je décris le parcours du réalisateur et le contex-te de production du film. Enfin, je récupère les discours du milieu cinématographique noir contemporain qui soutiennent que le film et son réalisateur organisent leurs revendications dans le champ cinématographique, Este artigo é um estudo sobre o documentário Alma no olho (1973) de Zózimo Bulbul. Na primeira parte faço uma análise do filme para reter as suas principais caracte-rísticas formais. Na segunda descrevo a trajetória do diretor e o contexto de produção do filme. Finalmente, recupero os discursos do meio cinematográfico negro contemporâneo que reivindicam o filme e o seu realizador para organizar as suas demandas no campo ci-nematográfico., Este artículo es una reflexión sobre el documental Alma no olho (1973) de Zózi-mo Bulbul. En la primera parte hago un análisis de la película para retener sus principales características formales. En el segundo, describo la trayectoria del director y el contexto de producción de la película. Finalmente, rescato los discursos del medio cinematográfico negro contemporáneo que reivindican la película y su director para organizar sus demandas en el campo cinematográfico.

Under Night’s Darkness follows Landry, who has recently been paroled from prison and returns to his family home in rural Montana. He has recently become a born-again Christian and is in the midst of a frantic final attempt to redeem himself after a lifetime dedicated to bullying and cruelty. He’s not only haunted by the specters of domestic abuse and sexual assault, but also by the ghosts of the recently dead. Enraged at the failure of his tragicomic attempts at redemption, Landry commits the sadistic murder of his own brother. The ensuing cycle of revenge destroys Landry’s family and Landry himself. Under Night’s Darkness interrogates America’s relationship with violence, power, and what kind of people we afford empathy. As a work of regional fiction set in the American West, this thesis attempts to reckon with a post-colonial society that sags under the weight of its own past violence. Just as Landry can’t escape from his past crimes, so the very landscape around him can’t be separated from its own tortured history. Regional fiction seeks to make larger social struggles manifest in the microcosm of a region, and the aim of this thesis is to make it clear that Landry’s haunted house is also our own.

The presence of dual and ambivalent characters (good/ bad) has always constituted the aesthetic and educational content in children’s fairy tales. Since the Nineteenth century, fairy tales and children’s books have had as an essential reference increasingly complex images and illustrations with vivid colors. This, together with the narration, has allowed the flourishing of a genre of fairy tale noir, whose explicitly pedagogical content is grafted into the plots not always “to happy ending” of fairy tales. The book by Heinrich Hoffmann, Struwwelpeter, and that by Ernst Theodor Hoffmann, Der Sandmann, which are at the heart of this essay, constituted a first, important example of this new kind of narrative. They have revealed, from a pedagogical-psychoanalytic perspective, the value of what Freud in a 1919 paper, Das Unheimliche, analyzed as a necessary manifestation of presence/absence (conscious and unconscious) in the phases of human growth.

Andrea Cotti è scrittore e sceneggiatore. Ha scritto narrativa per ragazzi (Francesco vola) e poesie (Da quale fuoco), ma ha una particolare passione per il giallo (menzioniamo, tra gli altri, Un gioco da ragazze, adattato anche in forma cinematografica), che lo porta ad essere uno degli sceneggiatori delle serie L’ispettore Coliandro e Squadra Antimafia. È autore della serie dedicata al detective italo-cinese Luca Wu, composta ad oggi da un racconto, Bologna dall’alto è bellissima (2016) e due romanzi editi da Rizzoli, Il cinese (2018) e L’impero di mezzo (2021). Con Silvia Baroni dialoga sulla costruzione del detective interculturale Luca Wu e sul noir come mezzo per indagare la realtà.

The aim of this paper is to investigate the literary and televisual production of Carlo Lucarelli, highlighting in particular how his works interweave actual and fictional events at different levels. On one side, we will analyse the way through which the Italian criminal history and crime news enter in his novels and Tv series, taking into special account the fictional worlds of Inspector Coliandro, Inspector Grazia Negro and Police Commissioner De Luca. On the other, we will focus on how Lucarelli employs the conventions of the true crime docudrama in order to narrate and fictionalise criminal events that actually happened. This transmedia approach highlights a peculiar feature of Lucarelli’s crime fiction, that is a particular use of metalepses: the author exploits his own ‘figure’ to break the limit between realty and fiction.

This article examines the use of the personal voice recorder in David Lynch's Twin Peaks, its connections to noir film, and its use to manage narrative space between characters and audience.

Andrea Cotti è scrittore e sceneggiatore. Ha scritto narrativa per ragazzi (Francesco vola) e poesie (Da quale fuoco), ma ha una particolare passione per il giallo (menzioniamo, tra gli altri, Un gioco da ragazze, adattato anche in forma cinematografica), che lo porta ad essere uno degli sceneggiatori delle serie L’ispettore Coliandro e Squadra Antimafia. È autore della serie dedicata al detective italo-cinese Luca Wu, composta ad oggi da un racconto, Bologna dall’alto è bellissima (2016) e due romanzi editi da Rizzoli, Il cinese (2018) e L’impero di mezzo (2021). Con Silvia Baroni dialoga sulla costruzione del detective interculturale Luca Wu e sul noir come mezzo per indagare la realtà.

The aim of this paper is to investigate the literary and televisual production of Carlo Lucarelli, highlighting in particular how his works interweave actual and fictional events at different levels. On one side, we will analyse the way through which the Italian criminal history and crime news enter in his novels and Tv series, taking into special account the fictional worlds of Inspector Coliandro, Inspector Grazia Negro and Police Commissioner De Luca. On the other, we will focus on how Lucarelli employs the conventions of the true crime docudrama in order to narrate and fictionalise criminal events that actually happened. This transmedia approach highlights a peculiar feature of Lucarelli’s crime fiction, that is a particular use of metalepses: the author exploits his own ‘figure’ to break the limit between realty and fiction.

This class explores the development of Hollywood Film Noir. There will be a focus on émigré directors who moved to Hollywood when the Nazis rose to power. Assignments will include short response papers about three of the films in the series, and reports by students on examples of "neo-noir" films from recent decades.This course is offered during the Independent Activities Period (IAP), which is a special 4-week term at MIT that runs from the first week of January until the end of the month.

Artykuł poświęcony jest analizie strategii narracyjnych w debiutanckiej powieści Iłłariona Pawluka Biały popiół. Celem artykułu jest ustalenie, jak zorganizowana jest narracja i jakie efekty artystyczne autor starał się osiągnąć, poprzez zwrócenie uwagi na intencje autora i śledzeniewpływu poszczególnych znaków  tekstowych na odbiorcę. Analizowane są obecne w powieści cechy kryminału retro i noir jako gatunków „adrenaliny”. Zwrócono uwagę na kinematograficzny charakter pracy wynikający z pomysłu autora. Podkreślono wiodącą strategię narracyjną powieści – intertekstualność, w szczególności intertekstualne interakcje z opowieścią Mikołaja Gogola Wij oraz wpływ intertekstów na interpretację tekstu przez czytelnika. Rozpatrzono zjawisko nierzetelnej narracji na wybranym materiale i wykazano, że narrator homodiegetyczny – prywatny detektyw Taras Biłyj – jest niewiarygodny. Badana jest także strategia stosowania prolepsy i wywoływania wahania czytelnika, realizowana poprzez budzenie wątpliwości co do natury artystycznej umowności przedstawianych wydarzeń., The article is devoted to the analysis of narrative strategies in the debut novel of Illarion Pavliuk White Ashes. Taking into consideration the author’s intention and tracking the influence of the textual indicia on the recipient, the article aims to find out how the narration is organized and what artistic effects the author was trying to achieve. The features of retrodetective and noir as “adrenaline” genres present in the novel are analyzed. The cinematic qualities of the work as a result of the author’s intention is marked. The leading narrative strategy used in the novel, the intertextuality, is highlighted, in particular, the intertextual interaction with the story of M. Hohol Vii, and the influence of intertextems on the reader’s interpretation of the text. The phenomenon of unreliable narration is considered on the basis of the selected material and it is proved that the homodiegetic narrator, private detective Taras Bilyi, is unreliable. The strategy of using prolepsis and provoking the reader’s hesitation which is realized through the formation of doubts about the nature of the artistic convention of the events described, is also examined.

You awake in an alleyway to find yourself at the scene of a crime, and with sirens closing in on you - better get moving! Narrative thriller based on film noir.

Blood Mafia is a Noir themed platformer. You take on the role of the "Janitor" as he is being called in to "clean up" some mafia members that have been causing a disturbance in the area. You've been given some new technology to deal with the disturbance that allows the use of super human abilities at the cost of your blood. Dash, double jump and punch your enemies at the cost of your health on your way to take out the man at the top. Collect the blood of your enemies to re-heal and help the clean up process go faster.

This article examines the use of the personal voice recorder in David Lynch's Twin Peaks, its connections to noir film, and its use to manage narrative space between characters and audience.

El cine negro español: del spanish noir al policiaco actual, plantea un viaje desde los antecedentes del cine negro español -años cuarenta-, hasta la actualidad. La obra, dividida en seis capítulos -cuenta realmente con ocho, aunque los dos últimos se consideran anexos con funciones enciclopédicas-, recorre cronológicamente la evolución del género, haciendo apuntes sobre sus largometrajes y directores más relevantes. El autor nos guía mediante comentarios y opiniones personales, que se apoyan tanto en críticas de profesionales de la época –Méndez Leite o Fernández Santos-, como en declaraciones de los propios cineastas, desde Rovira Beleta a Enrique Urbizu., The Spanish black cinema: from the Spanish noir to the present police one. It proposes a trip from the background of the Spanish black cinema - 1940s - to the present. The play, broken into 6 chapters - actually 8, although the last two are considered annexes with encyclopedic functions - goes chronologically through the evolution of the gender, making notes about his most relevant feature films and directors. The author guides us through comments and personal opinions, that are based in both critics from professionals of the time - Méndez Leite or Fernandez Santos - and declarations from the filmmakers themselves, from Rovira Beleta to Enrique Urbizu.

You awake in an alleyway to find yourself at the scene of a crime, and with sirens closing in on you - better get moving! Narrative thriller based on film noir.

Blood Mafia is a Noir themed platformer. You take on the role of the "Janitor" as he is being called in to "clean up" some mafia members that have been causing a disturbance in the area. You've been given some new technology to deal with the disturbance that allows the use of super human abilities at the cost of your blood. Dash, double jump and punch your enemies at the cost of your health on your way to take out the man at the top. Collect the blood of your enemies to re-heal and help the clean up process go faster.

El cine negro español: del spanish noir al policiaco actual, plantea un viaje desde los antecedentes del cine negro español -años cuarenta-, hasta la actualidad. La obra, dividida en seis capítulos -cuenta realmente con ocho, aunque los dos últimos se consideran anexos con funciones enciclopédicas-, recorre cronológicamente la evolución del género, haciendo apuntes sobre sus largometrajes y directores más relevantes. El autor nos guía mediante comentarios y opiniones personales, que se apoyan tanto en críticas de profesionales de la época –Méndez Leite o Fernández Santos-, como en declaraciones de los propios cineastas, desde Rovira Beleta a Enrique Urbizu., The Spanish black cinema: from the Spanish noir to the present police one. It proposes a trip from the background of the Spanish black cinema - 1940s - to the present. The play, broken into 6 chapters - actually 8, although the last two are considered annexes with encyclopedic functions - goes chronologically through the evolution of the gender, making notes about his most relevant feature films and directors. The author guides us through comments and personal opinions, that are based in both critics from professionals of the time - Méndez Leite or Fernandez Santos - and declarations from the filmmakers themselves, from Rovira Beleta to Enrique Urbizu.

В статье рассматриваются жанровые условия актуализации сюрреалистического кода, одного из стилевых кодов литературы. Анализ условий реализации подобного стилевого кода позволяет точнее определять границы стиля, а также его трансформации в Новейшее время. Особенный интерес представляет обращение авторов к формульным жанрам как маргинальной литературы, так и мейнстримной, что в целом способствует проявлению сюрреалистического кода в литературе и других видах искусства ХХ — начала XXI в., The article analyzes the genre conditions for the actualization of the surrealist code one of the style codes of literature. Analysis of the conditions for the implementation of such a style code allows to determine the boundaries of style, as well as its transformation in recent times. Of particular interest is the appeal of the authors to the formula genres of both marginal literature and mainstream. This contributes to the manifestation of the surrealist code in literature and other art forms of the 20th and early 21st centuries.

Coin Flip by Ethan Nguyen Taking place in an urban fantasy, the player takes control of two characters: the detective Dreck and the murderer, Vea. The player will be able to influence the deductive reasoning of the detective or the actions taken by the murderer to change how the story progresses.

Coin Flip by Ethan Nguyen Taking place in an urban fantasy, the player takes control of two characters: the detective Dreck and the murderer, Vea. The player will be able to influence the deductive reasoning of the detective or the actions taken by the murderer to change how the story progresses.

Roman Kuprian, Universität Innsbruck, Diplomarbeit, 2020, (VLID)5102668

Analizamos, por metodología cuali-cuantitativa, la implementación de la Ley no. 12.990/2014, que reserva el 20% de las vacantes de concursos públicos federales para docencia en 63 universidades federales y 38 institutos federales a candidatos negros e negras, en el periodo de 2014 a 2018. Constatamos que el porcentaje legalmente previsto está muy lejos del practicado en universidades federales e institutos federales. Transcurridos más de cinco años después de la aprobación de la ley, parece que el objetivo de ampliar la diversidad de raza/color en el servicio público federal no será alcanzado mediante concursos para carreras docentes, en un escenario de resurgimiento de discursos meritocráticos que amenazan la legitimidad de acciones afirmativas para personas negras., In this study, quali-quanti methodology was applied to analyze the implementation of Law no. 12,990/2014 on quotas for Black candidates at 63 federal universities and 38 federal ‘institutes’ (secondary and vocational training), during the period that spanned 2014 to 2018. The law reserves 20% of teaching vacancies filled through federal civil servant examinations for Black people. We observe the distance that separates the legally-stipulated conditions and actual practice in these institutions. As five years have now gone by since the passage of this legislation, it seems safe to say that the goal of expanding racial/color diversity in federal civil service will not be achieved through public examinations for teaching careers. Moreover, meeting this goal becomes progressively harder, given the present scenario of resurgence of meritocratic discourses that question the legitimacy of affirmative actions for Afro-Brazilians., Ce travail utilise une méthodologie quali-quantitative pour analyser l’application de la loi no 12 990/2014, réservant 20% des postes à des candidats noirs dans les concours de recrutement d’enseignants dans 63 universités féderales et 38 instituts superieurs d´éducation dans la période 2014-2018. Il a été constaté que le pourcentage prévu par la loi est loin de celui pratiqué par les universités fédérales et les instituts fédéraux. Passés cinq ans de l’adoption de la loi, il semble que l’objectif d’élargir la diversité concernant la race et la couleur de la peau dans la fonction publique ne sera pas atteint par le biais de concours de recrutement, dans un contexte de recrudescence des discours méritocratiques remettant en question la légitimité de la discrimination positive envers les noirs., Analisamos, por metodologia qualiquantitativa, a implementação da Lei n. 12.990/2014, que reserva 20% das vagas de concursos públicos federais para candidatos negros e negras, no âmbito das carreiras docentes de 63 universidades federais e de 38 institutos federais, no período 2014 a 2018. Constatamos que o percentual legalmente previsto está longe do praticado nas universidades federais e institutos federais. Passados mais de cinco anos desde a aprovação da lei, parece que o objetivo de ampliar a diversidade de raça/cor no serviço público federal não será alcançado por concursos para as carreiras docentes, em um cenário de recrudescimento de discursos meritocráticos que colocam em xeque a legitimidade de ações afirmativas para pessoas negras.

Ma recherche-création vise à exprimer le sens du phénomène spiritualité, de le proposer et de l’amener à travers la matière. Entre la sculpture et l’installation j’aborde les notions d’équilibre, de suspension et de fragilité qui unissent les deux concepts antagonistes de spiritualité et de matérialité. D’où mes interrogations sur la possibilité de dévoiler l’invisible à travers le visible et de suspendre la matière pour accéder au spirituel. Je voudrais comprendre comment la suspension de matériaux peut produire l’évocation de la spiritualité. Mon intention de recherche est donc de réaliser des oeuvres qui lient l’inalliable, le spirituel et la matière à travers la suspension. Mon but est la découverte d’un nouveau mode d’expression qui me permette d’exprimer cette spiritualité qui est en moi.

Film noir slutar aldrig att fascinera med sin förmåga att kombinera ljus och mörker i en otroligt stiliserad och väl genomarbetad mise-en-scène. Den omisskänneliga mörka stämningen och tonen – den karakteristiska noir-känslan – är konstant närvarande och reflekteras i såväl de typiska noir-karaktärerna som i storyn och i mise-en-scène. Liksom film noir är Tom Fords filmer genomtänkta i minsta detalj och det visuella sätts i fokus. Min uppsats är en stilanalys av den samtida noir-filmen Nocturnal Animals (2016) ur ett neo-noir-perspektiv. Syftet med denna uppsats är att analysera olika stildrag – mise-en-scène, cinematografi och klippning – samt utmärkande noir-teman. Vilken funktion har de olika stildragen i berättarstrukturen? Hur synliggörs klassiska noir-teman i filmen och hur skiljer sig neo-noir från den klassiska film noir? Genrefrågan debatteras fortfarande och därför används genreteori som en bakgrundsteori. De flesta filmforskare och filmkritiker ser film noir som en stil och inte en genre, eftersom de inte kunnat enas om en gemensam struktur och då film noir anses vara starkt förbunden med en viss tidsperiod och delar för många egenskaper med andra genrer. Neo-noir bygger på dagens filmskapares medvetenhet om den klassiska noir-filmens stilistiska och narrativa konventioner. Nocturnal Animals innehåller flera noir-teman. Det som skiljer den klassiska film noir från neo-noir är framförallt användningen av färg, och miljöerna och handlingen som tagits till en ny nivå, dvs. brottstemat och våldet har blivit brutalare och visas inte sällan utan upplösning. Neo-noir innehåller också mer skräck och karaktärerna, klippningen och ljussättningen har utvecklats. Både film noir och neo-noir lägger tonvikten på det visuella med en väl genomtänkt mise-en-scène, vilket även är karakteristiskt för Tom Fords filmer. Neo-noir-filmernas uppbyggnad och stil återspeglar den höga graden av medvetenhet om den klassiska noir-filmens stilistiska och narrativa konve

Detta arbete utvärderar ett kamerasystem som kan ta bilder för analys av växters välmående. Kamerasystemet bygger på en Raspberry pi model 3 b+, en PInoIR kamera modul v2 och ett blått filter. Kameran kan övervaka växter genom att den inte har något infrarött filter. Då kan matematiska uträkningar utföras på allt kamerans sensorer kan ta in. Ett experiment har designats för att skapa mätvärden som används i utvärdering av kamerans funktionalitet. Kamerasystemet bedöms fungera enligt det förespråkade ramverket och den programstack det bygger på. Det analyserade resultatet visar att kamerasystemet kan se skillnad på hydroponiska odlingar med olika tillgång till näring., This work evaluates a camera system that can take pictures for the analysis of plants' well-being. The camera system is based on a Raspberry pi model 3 b+, a PInoIR camera module v2 and a blue filter. The camera can monitor plants because it does not have an infrared filter. This enables mathematical calculations to be performed on light registered by the camera's sensors. An experiment has been designed to create metrics that are used in evaluating the camera's functionality. The camera system is preforming well by using the proposed framework and program stack. The analyzed results show that the camera system is able to spot the difference between hydroponic cultures with access to differents amounts of nutrition.

Film noir slutar aldrig att fascinera med sin förmåga att kombinera ljus och mörker i en otroligt stiliserad och väl genomarbetad mise-en-scène. Den omisskänneliga mörka stämningen och tonen – den karakteristiska noir-känslan – är konstant närvarande och reflekteras i såväl de typiska noir-karaktärerna som i storyn och i mise-en-scène. Liksom film noir är Tom Fords filmer genomtänkta i minsta detalj och det visuella sätts i fokus. Min uppsats är en stilanalys av den samtida noir-filmen Nocturnal Animals (2016) ur ett neo-noir-perspektiv. Syftet med denna uppsats är att analysera olika stildrag – mise-en-scène, cinematografi och klippning – samt utmärkande noir-teman. Vilken funktion har de olika stildragen i berättarstrukturen? Hur synliggörs klassiska noir-teman i filmen och hur skiljer sig neo-noir från den klassiska film noir? Genrefrågan debatteras fortfarande och därför används genreteori som en bakgrundsteori. De flesta filmforskare och filmkritiker ser film noir som en stil och inte en genre, eftersom de inte kunnat enas om en gemensam struktur och då film noir anses vara starkt förbunden med en viss tidsperiod och delar för många egenskaper med andra genrer. Neo-noir bygger på dagens filmskapares medvetenhet om den klassiska noir-filmens stilistiska och narrativa konventioner. Nocturnal Animals innehåller flera noir-teman. Det som skiljer den klassiska film noir från neo-noir är framförallt användningen av färg, och miljöerna och handlingen som tagits till en ny nivå, dvs. brottstemat och våldet har blivit brutalare och visas inte sällan utan upplösning. Neo-noir innehåller också mer skräck och karaktärerna, klippningen och ljussättningen har utvecklats. Både film noir och neo-noir lägger tonvikten på det visuella med en väl genomtänkt mise-en-scène, vilket även är karakteristiskt för Tom Fords filmer. Neo-noir-filmernas uppbyggnad och stil återspeglar den höga graden av medvetenhet om den klassiska noir-filmens stilistiska och narrativa konve

Cet article expose et analyse les faits ayant conduit à l’élaboration du projet de colonisation des territoires espagnols du golfe de Guinée au cours du XIXème siècle. Il va au-delà des considérations traditionnelles, qui associent souvent l’arrivée des espagnols dans cette partie du continent africain au seul fait de l’expansionnisme européen. L’acquisition par l’Espagne des îles de Fernando Póo et Annobon en 1778 répondait à un besoin spécifique. Celui de disposer d'une source d'approvisionnement d’esclaves pour alimenter les colonies d’Amérique d’une main-d’œuvre bon marché. Mais la volonté de coloniser ces territoires un demi-siècle plus tard était née de la nécessité de préserver les intérêts économiques et politiques de Cuba, menacés par la présence en nombre important des esclaves affranchis.

Cet article expose et analyse les faits ayant conduit à l’élaboration du projet de colonisation des territoires espagnols du golfe de Guinée au cours du XIXème siècle. Il va au-delà des considérations traditionnelles, qui associent souvent l’arrivée des espagnols dans cette partie du continent africain au seul fait de l’expansionnisme européen. L’acquisition par l’Espagne des îles de Fernando Póo et Annobon en 1778 répondait à un besoin spécifique. Celui de disposer d'une source d'approvisionnement d’esclaves pour alimenter les colonies d’Amérique d’une main-d’œuvre bon marché. Mais la volonté de coloniser ces territoires un demi-siècle plus tard était née de la nécessité de préserver les intérêts économiques et politiques de Cuba, menacés par la présence en nombre important des esclaves affranchis.

Detta arbete utvärderar ett kamerasystem som kan ta bilder för analys av växters välmående. Kamerasystemet bygger på en Raspberry pi model 3 b+, en PInoIR kamera modul v2 och ett blått filter. Kameran kan övervaka växter genom att den inte har något infrarött filter. Då kan matematiska uträkningar utföras på allt kamerans sensorer kan ta in. Ett experiment har designats för att skapa mätvärden som används i utvärdering av kamerans funktionalitet. Kamerasystemet bedöms fungera enligt det förespråkade ramverket och den programstack det bygger på. Det analyserade resultatet visar att kamerasystemet kan se skillnad på hydroponiska odlingar med olika tillgång till näring., This work evaluates a camera system that can take pictures for the analysis of plants' well-being. The camera system is based on a Raspberry pi model 3 b+, a PInoIR camera module v2 and a blue filter. The camera can monitor plants because it does not have an infrared filter. This enables mathematical calculations to be performed on light registered by the camera's sensors. An experiment has been designed to create metrics that are used in evaluating the camera's functionality. The camera system is preforming well by using the proposed framework and program stack. The analyzed results show that the camera system is able to spot the difference between hydroponic cultures with access to differents amounts of nutrition.

Les « Subsahariens » qui ont franchi les frontières géographiques pour arriver au Maroc avant d’entreprendre un passage vers l’Europe découvrent qu’ils sont porteurs d’une frontière tout aussi difficile à franchir. Ces personnes deviennent « noires » sur les routes migratoires et font l’expérience du racisme. Elles essaient, tant bien que mal, de s’adapter à ce qui est un obstacle supplémentaire, et non des moindres, sur leur parcours : elles se découvrent les représentantes d’une altérité radicale inscrite dans leur corps. Leur expérience nous montre que le racisme est multiforme. Il convoque les idéologies esclavagistes, coloniales, suprémacistes et les articule avec une image contemporaine de l’Africain noir débarquant sur les plages espagnoles, italiennes, grecques, en provenance des côtes libyennes, marocaines, ou tunisiennes. À l’intersection de la figure coloniale et esclavagiste du Noir et des migrants africains actuels, les « Subsahariens » subissent une double altérisation : raciale et sociale., Sub-Saharan people who have crossed geographical borders to reach Morocco before they undertake the crossing to Europe discover that they are carriers of a border that is just as difficult to cross. These people become “black” on migration routes and experience racism. They try, as best they can, to adapt to what is an additional obstacle, and not the least, on their journey: they discover themselves the representatives of a radical otherness inscribed in their bodies. Their experience tells us that racism is multifaceted. It calls together the ideologies of slavery, colonialism, supremacism and articulates them with a contemporary image of the black African landing on the beaches of Spain, Italy, Greece from the Libyan, Moroccan or Tunisian coasts. At the intersection of the colonial and slave-holding vision of the Black and of the current African migrants, Sub-Saharan people suffer both racial and social otherness., Antes de emprender el paso hacia Europa, los “subsaharianos” que han cruzado las fronteras geográficas para llegar a Marruecos descubren que son portadores de una frontera igualmente difícil de atravesar. Estas personas devienen “negras” en las rutas migratorias y experimentan el racismo. Intentan, mal que bien, adaptarse a lo que es un obstáculo adicional, y no menos importante, en su recorrido: se descubren como representantes de una alteridad radical inscrita en sus cuerpos. Su experiencia nos muestra que el racismo es multiforme. Éste convoca ideologías esclavistas, coloniales, supremacistas y las articula con una imagen contemporánea del africano negro que desembarca en las playas españolas, italianas, griegas, procedentes de las costas libias, marroquíes, o tunecinas. En la intersección de la figura colonial y esclavista del Negro y de los migrantes africanos actuales, los “subsaharianos” sufren una doble alterización: racial y social.

Attraverso l'analisi delle ultime produzioni di Camilleri, Malvaldi, Scerbanenco, Orecchio, Bonvicini, Stassi, Tuzzi, Grossi, Righetto, Pesce il saggio conduce il lettore entro le varie modalità di presentare un prodotto nella maniera più accattivante possibile, in linea anche con le mode momentanee del mercato. Ciò che si traduce spesso in una forma di “riduzione” di fronte alle possibili ricchezze dello spurio che affonda le proprie radici invece nella creatività autoriale. Uno spurio che peraltro mi pare caratterizzare buona parte della narrativa recente, attraendo a sé con forza anche chi invece magari è sin qui classificato in modo tassativo (e si tratta soprattutto del giallo, del thriller e del noir cucinati nelle più differenti situazioni narrative fuori dal proprio genere). E dove lo spurio non sta solo nei generi ma pure nella modalità stessa del raccontare del raccontare

Questo volume parla di un’emozione, o quantomeno di una categoria di emozioni, che viviamo e riviviamo davanti a uno schermo: quelle ansie, tensioni e paure che costituiscono il paradossale piacere del thrill. Facendo perno sulla tradizione di studio filmologica così come sui più recenti contributi delle neuroscienze affettive, Massimo Locatelli propone di leggere nel noir e nel thriller un grande universo narrativo che, grazie alla capacità evocativa originaria dei compiti di problem solving e di mind reading, offre allo spettatore contemporaneo un luogo dove mettere alla prova la propria emotività e costruire attraverso le emozioni il senso della propria identità. In effetti, la storia della produzione culturale moderna, in cui il noir e il thriller giocano un ruolo anche economicamente sempre più rilevante, sembra essere caratterizzata dal perfezionamento continuo di meccanismi narrativi di suspense e stili visivi ‘neri’. Il percorso nella storia più recente dei due generi, dalla modernità all’epoca digitale, passando per cinema, televisione, fumetto e videogioco, porterà in fondo a immaginare che la ‘noirizzazione’ sia diventata una delle forme culturali centrali del nostro tempo, la cui comprensione diventa necessaria per mappare le operazioni socialmente legittimate di elaborazione delle nostre ansie e paure collettive.

This thesis investigates narratives of re-enchantment and disenchantment in three contemporary U.S. novels, Lydia Millet’s Mermaids in Paradise, Karen Tei Yamashita’s Tropic of Orange, and Thomas Pynchon’s Inherent Vice. Drawing on key concepts from ecocritcism and affect theory, I argue that these novels interrogate narratives and affects associated with questions central to the Anthropocene: climate-related dilemmas, questions of environmental justice, and animal ethics. Situating these texts in relation to environmental discourses, I show how affects of wonder and re-enchantment are produced within them through the insertion of anti-mimetic narrative objects into otherwise representationally realistic fictional worlds. These incursions, and the affective shifts they produce, challenge and interrupt in the novels narratives of ecological dread and disenchantment, which I link to the techniques and affects of noir. In each chapter of this study, I show how the dialogical interplay between disenchantment and re-enchantment disrupts preconceptions and assumptions about aspects of ecological crisis, and engenders or reinforces political commitments to environmentally related issues. Chapter One focuses on interspecies politics and animal rights in Mermaids in Paradise, environmental justice is central to the analysis of Tropic of Orange in Chapter Two, and the political dynamics of countercultural environmentalism inform my reading of Inherent Vice in Chapter Three. Throughout, I explore the potential of re-enchantment to suggest an alternative to disenchanted and apocalyptic narratives concerning the environment, and to articulate a productive politics for contemporary ecofiction.

This thesis investigates narratives of re-enchantment and disenchantment in three contemporary U.S. novels, Lydia Millet’s Mermaids in Paradise, Karen Tei Yamashita’s Tropic of Orange, and Thomas Pynchon’s Inherent Vice. Drawing on key concepts from ecocritcism and affect theory, I argue that these novels interrogate narratives and affects associated with questions central to the Anthropocene: climate-related dilemmas, questions of environmental justice, and animal ethics. Situating these texts in relation to environmental discourses, I show how affects of wonder and re-enchantment are produced within them through the insertion of anti-mimetic narrative objects into otherwise representationally realistic fictional worlds. These incursions, and the affective shifts they produce, challenge and interrupt in the novels narratives of ecological dread and disenchantment, which I link to the techniques and affects of noir. In each chapter of this study, I show how the dialogical interplay between disenchantment and re-enchantment disrupts preconceptions and assumptions about aspects of ecological crisis, and engenders or reinforces political commitments to environmentally related issues. Chapter One focuses on interspecies politics and animal rights in Mermaids in Paradise, environmental justice is central to the analysis of Tropic of Orange in Chapter Two, and the political dynamics of countercultural environmentalism inform my reading of Inherent Vice in Chapter Three. Throughout, I explore the potential of re-enchantment to suggest an alternative to disenchanted and apocalyptic narratives concerning the environment, and to articulate a productive politics for contemporary ecofiction.

This thesis investigates narratives of re-enchantment and disenchantment in three contemporary U.S. novels, Lydia Millet’s Mermaids in Paradise, Karen Tei Yamashita’s Tropic of Orange, and Thomas Pynchon’s Inherent Vice. Drawing on key concepts from ecocritcism and affect theory, I argue that these novels interrogate narratives and affects associated with questions central to the Anthropocene: climate-related dilemmas, questions of environmental justice, and animal ethics. Situating these texts in relation to environmental discourses, I show how affects of wonder and re-enchantment are produced within them through the insertion of anti-mimetic narrative objects into otherwise representationally realistic fictional worlds. These incursions, and the affective shifts they produce, challenge and interrupt in the novels narratives of ecological dread and disenchantment, which I link to the techniques and affects of noir. In each chapter of this study, I show how the dialogical interplay between disenchantment and re-enchantment disrupts preconceptions and assumptions about aspects of ecological crisis, and engenders or reinforces political commitments to environmentally related issues. Chapter One focuses on interspecies politics and animal rights in Mermaids in Paradise, environmental justice is central to the analysis of Tropic of Orange in Chapter Two, and the political dynamics of countercultural environmentalism inform my reading of Inherent Vice in Chapter Three. Throughout, I explore the potential of re-enchantment to suggest an alternative to disenchanted and apocalyptic narratives concerning the environment, and to articulate a productive politics for contemporary ecofiction.

Questo volume parla di un’emozione, o quantomeno di una categoria di emozioni, che viviamo e riviviamo davanti a uno schermo: quelle ansie, tensioni e paure che costituiscono il paradossale piacere del thrill. Facendo perno sulla tradizione di studio filmologica così come sui più recenti contributi delle neuroscienze affettive, Massimo Locatelli propone di leggere nel noir e nel thriller un grande universo narrativo che, grazie alla capacità evocativa originaria dei compiti di problem solving e di mind reading, offre allo spettatore contemporaneo un luogo dove mettere alla prova la propria emotività e costruire attraverso le emozioni il senso della propria identità. In effetti, la storia della produzione culturale moderna, in cui il noir e il thriller giocano un ruolo anche economicamente sempre più rilevante, sembra essere caratterizzata dal perfezionamento continuo di meccanismi narrativi di suspense e stili visivi ‘neri’. Il percorso nella storia più recente dei due generi, dalla modernità all’epoca digitale, passando per cinema, televisione, fumetto e videogioco, porterà in fondo a immaginare che la ‘noirizzazione’ sia diventata una delle forme culturali centrali del nostro tempo, la cui comprensione diventa necessaria per mappare le operazioni socialmente legittimate di elaborazione delle nostre ansie e paure collettive.

This thesis investigates narratives of re-enchantment and disenchantment in three contemporary U.S. novels, Lydia Millet’s Mermaids in Paradise, Karen Tei Yamashita’s Tropic of Orange, and Thomas Pynchon’s Inherent Vice. Drawing on key concepts from ecocritcism and affect theory, I argue that these novels interrogate narratives and affects associated with questions central to the Anthropocene: climate-related dilemmas, questions of environmental justice, and animal ethics. Situating these texts in relation to environmental discourses, I show how affects of wonder and re-enchantment are produced within them through the insertion of anti-mimetic narrative objects into otherwise representationally realistic fictional worlds. These incursions, and the affective shifts they produce, challenge and interrupt in the novels narratives of ecological dread and disenchantment, which I link to the techniques and affects of noir. In each chapter of this study, I show how the dialogical interplay between disenchantment and re-enchantment disrupts preconceptions and assumptions about aspects of ecological crisis, and engenders or reinforces political commitments to environmentally related issues. Chapter One focuses on interspecies politics and animal rights in Mermaids in Paradise, environmental justice is central to the analysis of Tropic of Orange in Chapter Two, and the political dynamics of countercultural environmentalism inform my reading of Inherent Vice in Chapter Three. Throughout, I explore the potential of re-enchantment to suggest an alternative to disenchanted and apocalyptic narratives concerning the environment, and to articulate a productive politics for contemporary ecofiction.

This thesis investigates narratives of re-enchantment and disenchantment in three contemporary U.S. novels, Lydia Millet’s Mermaids in Paradise, Karen Tei Yamashita’s Tropic of Orange, and Thomas Pynchon’s Inherent Vice. Drawing on key concepts from ecocritcism and affect theory, I argue that these novels interrogate narratives and affects associated with questions central to the Anthropocene: climate-related dilemmas, questions of environmental justice, and animal ethics. Situating these texts in relation to environmental discourses, I show how affects of wonder and re-enchantment are produced within them through the insertion of anti-mimetic narrative objects into otherwise representationally realistic fictional worlds. These incursions, and the affective shifts they produce, challenge and interrupt in the novels narratives of ecological dread and disenchantment, which I link to the techniques and affects of noir. In each chapter of this study, I show how the dialogical interplay between disenchantment and re-enchantment disrupts preconceptions and assumptions about aspects of ecological crisis, and engenders or reinforces political commitments to environmentally related issues. Chapter One focuses on interspecies politics and animal rights in Mermaids in Paradise, environmental justice is central to the analysis of Tropic of Orange in Chapter Two, and the political dynamics of countercultural environmentalism inform my reading of Inherent Vice in Chapter Three. Throughout, I explore the potential of re-enchantment to suggest an alternative to disenchanted and apocalyptic narratives concerning the environment, and to articulate a productive politics for contemporary ecofiction.

DESPERATE TIMES CALL is a collection of short stories and a novella about people whose lives intersect with violence. The young girl in Of Course She Would is forced to leave her home after finding her meth-addicted father dead of a heart attack. Tomas Mangual, the main character of She Said Two, sets off on a blind date to discover his counterpart has recently been the victim of a disturbing hate crime. The featured novella, Diablo Corrido, raises the question: How far would someone chase their ambition to see a life-long dream come true? Using the intimate perspectives of first-person and close third-person points of view, DESPERATE TIMES CALL offers glimpses of characters chasing dreams of success, romance, wealth, even normalcy, but coming up empty-handed.

La tesis doctoral realiza un análisis de los álbumes publicados de la serie Blacksad, del guionista Juan Díaz Canales y el dibujante Juanjo Guarnido. Los cinco volúmenes, agrupados en lo que los autores han denominado el “ciclo de los colores”, se han convertido en un referente internacional del tebeo creado por autores españoles, tanto por las cifras de ventas como por los galardones obtenidos. Aunque la obra se adscriba dentro del género negro, la etiqueta queda desbordada por un universo realista localizado en los EE. UU. de la década de los cincuenta del siglo pasado que permite al guionista incorporar las preocupaciones de la época como el racismo, la Guerra Fría o el surgimiento de la contracultura. Todo ello en una historieta protagonizada por John Blacksad, un gato negro que ejerce de detective privado en un mundo habitado exclusivamente por animales antropomorfos.

This essay applies the crónica del desincanto theory to Bruno Morchio's crime fiction through a comparison between the first three novels of the Bacci Pagano's series and the first three novels of the Pepe Carvalho sagas, by Manuel Vázquez Montalbán. The comparison aims also to introduce to Italy the notion of disincanto as a critical perspective for the study of crime fictions and for the interpretation of the contemporary Italian society.

This essay applies the crónica del desincanto theory to Bruno Morchio's crime fiction through a comparison between the first three novels of the Bacci Pagano's series and the first three novels of the Pepe Carvalho sagas, by Manuel Vázquez Montalbán. The comparison aims also to introduce to Italy the notion of disincanto as a critical perspective for the study of crime fictions and for the interpretation of the contemporary Italian society.

Nordic noir is an emerging crime genre that draws on crime fiction, feature film, and television drama. The term Nordic noir is associated with a region (Scandinavia), with a mood (gloomy and bleak), with a look (dark and grim), and with strong characters and a compelling narrative. Such is the popularity of Nordic noir as a brand for crime that it can also, and somewhat confusingly, be associated with disparate, bleak dramas set in particular locations outside the Scandinavian region (Sweden, Denmark, Norway, Iceland, and Finland), such as Wales, Italy, France, Mexico, and the United States. As such, Nordic noir is a global brand that attracts transnational audiences, and at the same time, it is a genre that offers a specific style of storytelling that has the look and feel of a regional, moody, and compelling crime narrative. The approach to Nordic noir taken in this article analyzes the genre as multidimensional, involving production and institutional contexts, creative practices, and the practices of audiences and fans. The research uses empirical and theoretical analysis drawing on genre analysis, as well as production and audience studies, including qualitative interviews and participant observations with executive and creative producers, viewers, and fans. Nordic noir is not a fixed genre; rather, it is in a constant process of iteration as it mutates, hybridizes and migrates from one location to another, where it may be received and understood in different ways. The concept of "genre work" is useful in helping to capture and critically analyze Nordic noir from multiple perspectives, taking into account the complex ways in which this genre is a cocreation between industries and audiences. This is particularly evident in the case of the Danish-Swedish coproduction Broen/Bron/The Bridge (2011), which provides an illuminating case study of these processes at work. It is this constantly ongoing notion of genre work that illuminates the fluidity of Nordic noir, wh

Nordic noir is an emerging crime genre that draws on crime fiction, feature film, and television drama. The term Nordic noir is associated with a region (Scandinavia), with a mood (gloomy and bleak), with a look (dark and grim), and with strong characters and a compelling narrative. Such is the popularity of Nordic noir as a brand for crime that it can also, and somewhat confusingly, be associated with disparate, bleak dramas set in particular locations outside the Scandinavian region (Sweden, Denmark, Norway, Iceland, and Finland), such as Wales, Italy, France, Mexico, and the United States. As such, Nordic noir is a global brand that attracts transnational audiences, and at the same time, it is a genre that offers a specific style of storytelling that has the look and feel of a regional, moody, and compelling crime narrative. The approach to Nordic noir taken in this article analyzes the genre as multidimensional, involving production and institutional contexts, creative practices, and the practices of audiences and fans. The research uses empirical and theoretical analysis drawing on genre analysis, as well as production and audience studies, including qualitative interviews and participant observations with executive and creative producers, viewers, and fans. Nordic noir is not a fixed genre; rather, it is in a constant process of iteration as it mutates, hybridizes and migrates from one location to another, where it may be received and understood in different ways. The concept of "genre work" is useful in helping to capture and critically analyze Nordic noir from multiple perspectives, taking into account the complex ways in which this genre is a cocreation between industries and audiences. This is particularly evident in the case of the Danish-Swedish coproduction Broen/Bron/The Bridge (2011), which provides an illuminating case study of these processes at work. It is this constantly ongoing notion of genre work that illuminates the fluidity of Nordic noir, wh

Teoretická část se zabývá přípravou, průběhem a realizací praktické části bakalářské práce. Popisuje vznik dějové linky, inspirační zdroje, výtvarné řešení, problémy spojené s jejich realizací a v neposlední řadě také logické opodstatnění jednotlivých záběrů traileru. Práce je doplněna popisnými a vzorovými obrázky ukazujícími výtvarné pojetí audiovizuálního díla. Výstupem je krátký animovaný trailer ke vznikající počítačové hře RENOIR, inspirované filmovým žánrem noir., The thesis includes preparation, process and implementation of the practical part. Describes the origin story lines, sources of inspiration, creative solutions to problems associated with their implementation and the logical justification of individual shots in trailer. It is accompanied by a descriptive pictures showing exemplary artistic conception of the audiovisual work. The output is a short animated trailer for developed computer game RENOIR inspired by film noir., Ateliér Animovaná tvorba

With a starting point in the increasing amount of domestic fiction and documentaries in Swedish television after the introduction of the second national public service channel in 1969, the 1970s is remembered as a decade of social issue television. This profile of national TV-production did not end until the late 1980s with another breaking point in the history of Swedish television – the introduction of cable-TV and a new commercial logic. The programs made during these years are thus part of a national TV-history, representing (changing) ideas of what a serial or a series would achieve in terms of aesthetic as well as didactic and political means. But these fictions (and documentaries) are also a part of the national culture at the time, often in retrospective symbolizing an era of political awareness – or of leftist repression. In the more frequent intersection between History and Film studies, cinematic memories has often served as a source to history. Both when it comes to historical films critically discussed and analyzed as making history practice, and other/all kinds of films discussed as representations of contemporary events and zeitgeist. Television is more rarely discussed in this academic context, which might be regarded surprising bearing in mind the impact of the medium – especially in the late 20th century. In this paper I will discuss one of the many different kinds of issues (or discources) that characterized Swedish TV-fiction at the time – environmental threats and anti-modern discourses. These topics are recurrent themes – one example is the fiction serial Hem till byn (Home to the village) which during more three decades (1971-2006) described the development of a small rural district in the modernizing welfare state. Another – more striking example – is the social realistic sci-fi miniseries Sommarens tolv månader (Twelve months of summer) from 1988 where the climate change is the explicit theme. With a departure from these two examples I wil