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Copyright of Form@re is the property of Firenze University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Sociologia Italiana is the property of EGEA S.p.A and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Il linguaggio visivo utilizza un lessico di frames fissati nella memoria, strategie combinatorie per unire questi frames in unità significative e una grammatica morfologica che governa la combinazione di immagini sequenziali in espressioni coerenti. Il Visual Storytelling è un processo costitutivo e organizzativo della narrazione attraverso segni visivi che, più del linguaggio verbale, è comprensibile e vicino a una lingua adamitica comune all’umanità. In realtà, similmente a quello verbale e gestuale, il linguaggio visivo non è universale ma presenta un lessico, una grammatica e una morfologia fortemente influenzati dal contesto culturale. Dal confronto sistematico tra i comics euro-statunitensi e i manga giapponesi operato presso il Visual Language Lab diretto nei Paesi Bassi da Neil Cohn emerge che le differenze narrative e comunicative in termini di indipendenza e interdipendenza tra Oriente e Occidente si manifestano non solo nel frame visuale dei fumetti, ma anche negli spot pubblicitari e nei siti web relativamente alla focalizzazione narrativa e al punto di vista.Visual language uses a lexicon of memory frames, combinatorial strategies to create meaningful units combining these frames, and a morphological grammar that governs the sequential images combination in coherent expressions. Visual Storytelling is a process of creation and organization of narration through visual signs, which seems to be more understandable than verbal language. Therefore, it seems to be closer to a sort of ʻadamiticʼ language, that is a common language to people from all countries and cultures. Nevertheless just as spoken language and signs language don’t have an universal manifestation, visual language varies according to the cultural context. From the systematic comparison between Euro-American comics and Japanese manga performed by the Visual Language Lab directed by Neil Cohn in the Netherlands, it emerges that narrative and communicative differences in terms of independence and interdependence between East and West are manifested not only in the visual framework of comics, but also in advertising and websites especially regarding narrative point of view and narrative voices.

Copyright of Medicina e Morale is the property of PAGEPress and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper proposes a study that contributes to decline advertising in ideological terms, facing and conceptualizing old and new strategies, that allow to analyze advertising as an ideology. Introducing the scope of this work briefly, it will provide a first screening of the advertising phenomenon, then move on to examine the possible power aspects exercised on consumers, its persuasive force and related theories. The cultural comparison will provide further food for analysis, which will highlight both the values transformation brought by advertising that effects on behavior, on the needs and social relations. The last part will analyze the communications/advertising report, with examples of commercials that will introduce a short explanatory reference to marketing industry studies. The conclusions summarize their goals, focused on the mentioned spots

The aim of this article is to examine in the context of today a theory put forward by Umberto Eco in 1968 (in his book La struttura assente [The Absent Structure]). Eco stated that advertising does not increase public understanding and is simply a consolatory art. In this paper I shall analyse a number of advertisements (made between 2009 and 2014) for 5 different models of people carrier to see what type of families are portrayed and how, in order to see if Eco's theory still holds true. The analyses in fact show that the way families are portrayed in advertising continues to favour traditional models and values, even though there are some indications of social changes that are taking place. In addition, as recent sociosemiotic studies have shown, advertising communication has a dual social and commercial status that obliges it to move slowly: so while it can portray innovations and increase public understanding, this must be done without any destabilizing effects and therefore must always take place very gradually.

Copyright of Sociologia Italiana is the property of EGEA S.p.A and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The essay aims at relating the outcomes of a multidisciplinary research project focused on the relationship between a specific kind of social discourse, such as advertising, and the concept of "media memory". Through the analysis of concrete examples of commercials, we have tried to outline a composite field of studies ranging from semiotic studies on individual and cultural memory, to the role mass media play in defining a collective memory, up to the processes of interpretation that the reader/user activates to understand texts which create a network of references to our past.

Copyright of Cuadernos de Filología Italiana is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

L’Inferno della Milano Films e l’americano Dante’s inferno costituiscono i due capolavori del cinema muto che hanno tentato la titanica impresa di tradurre sul grande schermo la forza visionaria della Commedia dantesca. Entrambi i film costituiscono due pietre miliari della storia del cinema e hanno lasciato una traccia importante non solo nell’epoca della loro distribuzione ma anche nella cinematografia successiva e anche in altre forme di espressione artistica. Più o meno esplicitamente le suggestioni di questi due film rivivono all’interno di opere della settima arte come Go down, Death!, in cui scene di Inferno sono rimontate all’interno di una vicenda legata al mondo afroamericano, o de La nave di Satana, una sorta di omaggio al precedente Dante’s Inferno, ma anche in ambiti più sorprendenti come quello della pubblicità o delle app per tablet. In un panorama complessivo in cui non si è ancora riusciti a esprimere pienamente sulla pellicola il potenziale figurativo di un poema così denso, questi lungometraggi dei primordi del cinema, pur privi di sonoro e nella limitatezza tecnica dei tempi, ancora oggi, a circa un secolo di distanza, rappresentano un archetipo non ignorabile. Secondo una tendenza moderna e postmoderna tanti artisti hanno saputo ridurre e smembrare sempre più questi inferni muti per riutilizzarne idee, emozioni o frammenti più o meno deformati nelle loro opere nell’utopica attesa che un giorno la settima arte riesca a dimostrare di essere capace di produrre immagini in movimento davvero all’altezza del poema dantesco.

Negli anni Venti e Trenta del Novecento lo sviluppo agrario e dell’industria alimentare si evolve verso nuove funzioni di tipo comunicativo, nelle quali l'immagine, informativa e persuasiva, assume un nuovo rilievo. Una prima ricerca iconografica tra i fondi dell'Archivio storico della Fondazione Fiera di Milano e della Civica raccolta delle stampe Achille Bertarelli di Milano ha permesso di portare alla luce questo aspetto e al contempo la centralità espressa dalla regione Emilia Romagna che, con la sua agricoltura, la sua industria agro-alimentare e i suoi uomini – dai grafici pubblicitari ai tecnici agronomi ai politici – riesce ad affermarsi come “laboratorio policentrico” di diffusione di innovazioni decisive per lo sviluppo socio-economico di quegli anni.

L’intervista si propone di analizzare la multiforme opera del fumettista Roberto Baldazzini. Autodidatta, collezionista di periodici al femminile e saggista, riconosciuto, soprattutto in ambito francese, come maestro del fumetto erotico. La fotografia è il mezzo attraverso il quale l’artista studia la realtà circostante, carpendo elementi naturali, scenografici e inquadrature inedite. Il mondo del cinema e del fotoromanzo e la grande passione per le icone femminili degli anni ’50, estratte dalle sue riviste, fanno del talento di Roberto Baldazzini emblema di quanto la “memoria sociale”, teorizzata da Aby Warburg in ambito antico e moderno, sia veicolata dai mass media nell’ambito contemporaneo. Da Stella Noris, passando per le opere pittoriche dedicate a Sophia Loren e Betty Page, protagonista del fumetto Who Killed Betty?, per poi approdare alle sue recenti mostre Creature e Hollywoodland, work in progress del suo ultimo romanzo a fumetti per la Bonelli Editore, il femminile è analizzato in tutte le sue sfumature: delicate, sensuali, fetish e divistiche. L’artista attraversa abilmente il media pubblicitario: di particolare rilevanza sono le sue campagne per TIM, Alessi, Zanotti e Axe. Altri due nodi tematici toccati in questo dialogo sono il rapporto di Baldazzini con l’arte e con i social network, visto come un terreno di condivisione del proprio immaginario. La carriera dell’artista non trascura grandi temi radicati nella sua terra, come ne L’inverno di Diego, un racconto storico a fumetti che affronta il tema della Resistenza nell’Appennino modenese.

Novità bibliografiche / Latest publications

This essay makes critical reference to Barthes' Mythologies (1956), the text which has been recognised as fundamental to the semiological study of mass and popular culture. However, the essay also goes beyond paying due homage to this seminal work by moving beyond it to provide the context of North American and British studies of mass culture, based on recent theories of mass media and new media, in which Barthes is completely absent. A final comparison concerns the cognitive sciences as "rival sciences" to the semiotic study of pop culture.

This text aims to understand the relevance of the different fats in Portuguese recipes of the 20th century, specifically, in eight books written by Rosa Maria, published in 1956, by Civilização Publisher. On the other hand, through the study of publicity in five women's magazines, also published in the same year, the article also analyzes the importance of olive oil and other fats of animal origin. Which fats and brands were announced? What are the characteristics of those advertisements? What strategies have been adopted by advertisers? Some of the issues to which we seek to address, in an investigation that analyzes the olive oil, one of the relevant products of the so-called Mediterranean diet, compared to other animal fats, in the Portuguese diet in the middle of 20th century. [ABSTRACT FROM AUTHOR]

This paper presents a case study of the brand 'Borsalino', whose communication strategy has evolved closely intertwined with the history of the company. The theoretical foundations of the present work stand in the history of advertising, particularly in the first half of the twentieth century, and in a semiotic approach which has allowed us to choose a coherent corpus of images, to compare them and to identify textual constants and variables, within a diacronic perspective.

Copyright of Journal of Constitutional History / Giornale di Storia Costituzionale is the property of Giornale di Storia Costituzionale (Journal of Constitutional History) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper proposes a study that contributes to decline advertising in ideological terms, facing and conceptualizing old and new strategies, that allow to analyze advertising as an ideology. Introducing the scope of this work briefly, it will provide a first screening of the advertising phenomenon, then move on to examine the possible power aspects exercised on consumers, its persuasive force and related theories. The cultural comparison will provide further food for analysis, which will highlight both the values transformation brought by advertising that effects on behavior, on the needs and social relations. The last part will analyze the communications/advertising report, with examples of commercials that will introduce a short explanatory reference to marketing industry studies. The conclusions summarize their goals, focused on the mentioned spots. [ABSTRACT FROM AUTHOR]

Since I have faced with the hypothesis elaborated by Francesco Orlando, according to which literature is a form of return of the repressed, I wondered what – in our era of deregulation, end of censorship and taboos – could occupy the place of the repressed. One of the most influential sociologists, Zygmunt Bauman, has outlined the epochal passage from “the uneasiness in civilization” to today's “uneasiness of freedom”. The problem of desire today would not be a clash with a limit, but an indefinite freedom that is likely to turn into lost, loss of intensity and meaning.