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In order to identify the concrete processes by which the complex machinery of the legal system operates, a focus on the narratives of law in popular culture can be useful. However, studying narrative poses a number of theoretical and methodological pitfalls. The aim of this paper is a return to Vincenzo Tomeo's half-century-old work The Judge on the Screen. The book is an excellent example of a sociologically careful and methodologically insightful use of fictional narrative sources such as films. It can be considered a classic of 'law and culture' studies and a forerunner of the 'law and cinema' movement. [ABSTRACT FROM AUTHOR]

The aim of the paper is to analyze the different forms that nontextual narrative takes related to the fundamental dimensions that characterize the video game medium, namely interactivity and game design. After providing a general definition of narrative and clarifying how its role is discussed within the scientific debate it will be proposed a semiotic model of analysis for each component and how narrative organizes each of them. Finally, two works will be analyzed where it is evident how the relationship between narrative and game design/interaction, taking into consideration the proposed models for analyzing the medium, defines not only the work itself but also the relationship with the user. [ABSTRACT FROM AUTHOR]

The field of study on narratives and social theory is broad and constantly evolving, as well as the relation between narratives and law. From the 70s on, partticularly in the Anglo-Saxon context the movement Law and Literature emerged, both as the analysis of law as literature and literature as law. Jurists, writers and literary critics began to explore the ways in which literature can help understand law and vice versa. The interactions between law and literature continue to challenge the traditional view of law as a technical and formal discipline, thus offering a socio-cultural approach to its understanding. Like any narratives, legal narratives are not transparent and neutral views of reality, as meanings do not pre-exist the process of emplotment. Stories, including legal stories, construct facts. In this paper, after a brief review of the main features of judicial narratives, I aim to investigate the peculiar narrative dimension of narratives produced within trials for human rights violations. [ABSTRACT FROM AUTHOR]