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Noi e gli schermi

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Come è cambiato il rapporto fra le audience e le narrazioni video nell'epoca del Social Network.
Da Apocalypse Now ad Avatar, da Sandokan a Lost, dal prosumer al narrowcoder.

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Noi e gli schermi

  1. 1. Noi e gli schermi<br />Da Sandokan a Lost, da ApocalypseNow ad Avatar.<br />Com’è cambiato il nostro rapporto con la narrazione video?<br />Moviecamp Venezia 9 Settembre 2010<br />Simone Corami<br />
  2. 2. La linea del cambiamento:Massa – Consumo – Spettacolo – Rete<br />cioè <br />Cinema – TV – Reality Show - UGC<br />Può l’immagine in movimento aver causato la più grande accelerazione sociale della storia?<br />Ipotesi per una timeline<br />Moviecamp Venezia 9 Settembre 2010<br />
  3. 3. <ul><li>La rete diventa modello,
  4. 4. Verticale VS Orizzontale,
  5. 5. Narrazione disseminata (Derrida)
  6. 6. Narrazione non-lineare,
  7. 7. Moltiplicazione dello schermo e dell’accesso,
  8. 8. La morte dell’eroe e le nuove mitologie.</li></ul>Moderno, Tardo-Moderno e Post Moderno:fine del progetto unitario e molteplicità irriducibile<br />Il pensiero: Benjamin, Pasolini, Debord, Liotard…<br />Moviecamp Venezia 9 Settembre 2010<br />
  9. 9. Da ApocalypseNow ad Avatar<br />ApocalypseNowil film più atteso della modernità<br /><ul><li>Regia di Francis Ford Coppola, 1979, USA
  10. 10. Basato su Heart of Darkness di Joseph Conrad,
  11. 11. Mitologia del suo making of, 10 anni per farlo, da cui il documentario Heart of Darkness,
  12. 12. Ha la fama di essere il set dove si è consumata più droga nella storia del cinema,</li></ul>Moviecamp Venezia 9 Settembre 2010<br />
  13. 13. <ul><li>Viaggio nel lato oscuro dell’uomo,
  14. 14. Wagner, Brando, Vietnam come simboli della modernità,
  15. 15. Ogni elemento è metafora del conflitto,
  16. 16. Noi addestriamo dei giovani a scaricare Napalm sulla gente, ma i loro comandanti non gli permettono di scrivere "cazzo" sui loro aerei perché è osceno. (Col. Kurtz)</li></ul>ApocalypseNowil film più atteso della modernità<br />Da ApocalypseNow ad Avatar<br />Moviecamp Venezia 9 Settembre 2010<br />
  17. 17. <ul><li>Regia di James Cameron, USA, 2009
  18. 18. Il film con il più investimento della storia, compreso il settore marketing,
  19. 19. Il film che ha incassato di più,
  20. 20. La tecnologia 3D più avanzata oggi esistente,
  21. 21. Cameron è un innovatore del set e del making of,</li></ul>Avatar, per una mitologia della community<br />Da ApocalypseNow ad Avatar<br />Moviecamp Venezia 9 Settembre 2010<br />
  22. 22. <ul><li>Il conflitto diventa orizzontale, Avatar è un film di superficie,
  23. 23. La metafora si trasforma in simulacro,
  24. 24. Avatar è una community, dove gli utenti spostano il significato, ricombinandolo,
  25. 25. Ma Avatar è solo un capitolo, quasi una vulgata.</li></ul>Avatar, per una mitologia della community<br />Da ApocalypseNow ad Avatar<br />Moviecamp Venezia 9 Settembre 2010<br />
  26. 26. Da Sandokan a Lost<br />Sandokan, l’ultimo sceneggiato<br /><ul><li>Regia di Sergio Sollima, 1976, Ita,
  27. 27. Tratto dai romanzi di Emilio Salgari, il mitografo di generazioni di italiani,
  28. 28. Il più visto in tutta la storia della nostra tv, fino a 26 milioni di spettatori,
  29. 29. Venduto molto bene anche all’estero,</li></ul>Moviecamp Venezia 9 Settembre 2010<br />
  30. 30. Da Sandokan a Lost<br />Sandokan, l’ultimo sceneggiato<br /><ul><li>Esotismo e Modernità,
  31. 31. L’Eroe come protagonista assoluto,
  32. 32. Logica dell’appuntamento televisivo,
  33. 33. Dopo Sandokan la tv italiana entra in crisi,
  34. 34. La crisi dello sceneggiato porta alla nascita della neo-televisione in Italia.</li></ul>Moviecamp Venezia 9 Settembre 2010<br />
  35. 35. Da Sandokan a Lost<br />Lost, oltre ogni dimensione<br /><ul><li>J.J. Abrams e Damon Lindelof, 6 stagioni,
  36. 36. Da film per la tv, poi 4 stagioni, per finire con6,
  37. 37. Per la puntata finale gli spazi più costosi della storia per una spot,
  38. 38. Come si misurano gli spettatori di Lost,
  39. 39. I post su Lost sono centinaia di milioni,</li></ul>Moviecamp Venezia 9 Settembre 2010<br />
  40. 40. Da Sandokan a Lost<br />Lost, oltre ogni dimensione<br /><ul><li>Un database di storie, l’eroe è morto,
  41. 41. La narrazione postmoderna,
  42. 42. Oltre il tempo e lo spazio, la vita e la morte,
  43. 43. La tv è il territorio della nuova narrativa,
  44. 44. La narrazione invasa e ricombinata,
  45. 45. Esiste davvero un finale?</li></ul>Moviecamp Venezia 9 Settembre 2010<br />
  46. 46. Dove stiamo andando?<br />La narrazione visiva diventa un gioco dove le audience diventano manipolatori <br /><ul><li>Si supera la logica dell’appuntamento tv,
  47. 47. Si mettono in gioco le identità stesse,
  48. 48. Cambio essenziale delle dinamiche sociali e psicologiche dei personaggi e degli spettatori,
  49. 49. Ognuno crea il suo percorso nella narrazione,
  50. 50. Quale sarà il prossimo territorio narrativo?</li></ul>Moviecamp Venezia 9 Settembre 2010<br />
  51. 51. The Next Big Thing: NarrowCoder<br />I Social Network e la rete sono il prossimo territorio della narrazione<br /><ul><li>La post-modernità dei social network,
  52. 52. L’abbattimento di ogni limite fisico,
  53. 53. Il flusso della comunicazione diviene racconto,
  54. 54. Si costruisce la propria community come fosse un cast ed il flow come una narrazione,
  55. 55. Dal Prosumer al Narrowcoder.</li></ul>Moviecamp Venezia 9 Settembre 2010<br />
  56. 56. Il Narrowcoder è il flaneur digitale<br />Narrowcoder: me as a flow<br /><ul><li>Pone simulacri e significati,
  57. 57. Polimediale,Policanale e oltre
  58. 58. La comunicazione prende una codifica ed un simulacro diverso a secondo del canale,
  59. 59. Lo schermo diviene piattaforma e non media,
  60. 60. Cambia anche il modo di fare marketing.</li></ul>Moviecamp Venezia 9 Settembre 2010<br />
  61. 61. Grazie per la vostra attenzionee godetevi Moviecamp<br />Simone Corami<br />simone.corami@gmail.com<br />Moviecamp Venezia 9 Settembre 2010<br />

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