Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
Facolt di Scienze della Comunicazione Corso di Laurea in Industria Culturale e Comunicazione Digitale Cattedra di Teoria e Analisi Delle Audience
Popular Culture
Popular Culture is a struggle between the nature (ideological, strategic, disciplinary) of the resource provided by the financial economy and the cultural needs of everyday life. (Fiske, 1989: 142) Hegemony is a constant struggle against a multitude of resistance (ibidem: 41), against that diversity of meaning that the diversity of readers will produce. (ibidem: 93)
Eugne Atget
Creative Sparks
Culture is the constant process of producing meanings of and from our social experience, and such meanings necessarily produce a social identity for the people involved (Fiske, 1989: 1)
Popular Pleasures
libidinal and information flows are organized via network in which meanings and affects circulate, form clusters, separate in a flux combining signifying and asignifying elements (Hebdige, 1988: 223) The pleasure of producing ones own meanings of social experience and the pleasure of avoiding the social discipline of the power bloc. (Fiske, 1989: 47)
Popular Culture
La cultura opera sempre mediante le sue testualit e [] questa testualit sempre insufficiente. (Hall, 1992: 295) Il significato non un atto naturale, bens arbitrario, lintervento dellideologia nel linguaggio (Hall, 1986: 185) The undisciplined popular reader [] is often selective and spasmodic [] is often a textually undisciplined selection of relevant moment. (Fiske, 1989: 143-144) un testo in potenza (la testualit) e un soggetto in potenza (laudience estemporanea, che si forma con alleanze mutevoli allinterno di una societ strutturalmente determinata) si incontrano e si connetto tra loro, attraverso un processo di articolazione tra i significati, che il soggetto trova nel testo, e la loro attualizzazione/appropriazione, articolata entro gli spazi dellintertestualit dellesperienza sociale. (And, 2007: 16)
Popular Culture
La cultura popolare un campo di battaglia permanente, in cui la vittoria non si ottiene una-volta-per-tutte, poich le posizioni strategiche possono essere conquistate e perdute. (Hall, 1981: 78)
Forze emergenti, che puntano al futuro, perdono la loro capacit anticipatrice e diventano puramente reazionarie; le rotture culturali di oggi possono essere recuperate domani per sostenere il sistema di valori e significati allora dominante. (Hall, 1983: 81) Culture is not a relatively harmonious and stable continuum from dominant to deviant, but e confrontation between groups occupying different, something opposing positions in the map of social relation, and the process of making meanings is a social struggle, as different groups struggle to establish meanings that serve their interests. (Fiske, 1989b: 58) Incorporation always involves [] the concession of space; such a continued erosive process may well provide changes in the system that allow significant improvements in the condition of the subordinate. (Fiske, 1989: 193)
Creative Sparks
Culture is the constant process of producing meanings of and from our social experience, and such meanings necessarily produce a social identity for the people involved (Fiske, 1989: 1) Produttivit semiotica: attribuire significati allidentit e allesperienza sociale, a partire dalle risorse semiotiche dei beni culturali. (Fiske, 1992: 173)
Produttivit enunciativa: i significati prodotti vengono espressi allinterno dei gruppi e delle reti sociali di cui lindividuo fa parte, assumono un qualche forma pubblica. Produttivit testuale: The material production of texts become a central aspect of the cult activity. (Abercrombie, Longhurst, 1998: 149)
Creative Sparks
Capitale culturale popolare Subculturale: Fan share a common interest while also competing over fan knowledge, access to object of fandom, and status. (Hills, 2002: 46) Subculture Style Corpo: Si pu considerare la gente come impegnata in un complesso gioco di segni (sign play) che mima e vibra in sintonia con leccesso di segni in un ambiente tutto edificato (Featherstone, 1994: 141). Scribbling in The Margins: Fan fiction can be seen as an unauthorized expansion of these media franchises into new directions which reflect the reader's desire to "fill in the gaps" they have discovered in the commercially produced material. (Jenkins, 2007) New Media & Cultural Creativity: Il s il centro dei processi culturali contemporanei, non il s isolato e passivo; ma il s inter-connesso e attivamente coinvolto nella negoziazione - costruzione di significati (ed alleanze sociali temporanee) e nella produzione di contenuti culturali.
Popular Pleasures
Popular pleasure arise from the social allegiances formed by subordinate people, they are bottom-up and thus must exist in some relationship of opposition to power [] that attempts to discipline and control them. (Fiske, 1989: 49) Games and texts construct ordered worlds within which the players/readers can experience the pleasure of both freedom and control. (Fiske, 1987: 230) Pleasure-as-performative is always a cultural act, an articulation of identity. (Hills, 2005: IX)
Popular Pleasures
Productive Pleasures: Plaisir relies not on the meanings that are made, but on the power to make them, and an essential component of this power is the bottom-up power to make meaning in explicit resistance to the top-down power. (Fiske, 1989: 172) Transgressive Pleasures: The loss of self is [] the evasion of ideology. (ibidem: 50) Utopia, Immagination & Community: Gli oggetti estetizzati hanno la capacit to 'make world, to create community. (Vattimo: 66) Play: presenza di limiti e la facolt di inventare allinterno di questi limiti. (Caillois, 1981: 9) Performative Pleasures: Pleasures are the result of discourses that work, repetitively and insistently, to fix types of pleasures in some cultural sites and not others, always as a question of cultural value/distintion. (Hills, 2005: 8)