CLASS 3 RD E CLASS 3 RD E LICEO SCIENTIFICO G. TORELLI - FANO PRESENTS.
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Transcript of CLASS 3 RD E CLASS 3 RD E LICEO SCIENTIFICO G. TORELLI - FANO PRESENTS.
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CLASS 3RD ECLASS 3RD E
LICEO SCIENTIFICO G. TORELLI - FANO
PRESENTSPRESENTS
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READING A READING A MOVIE,MOVIE,
READING A READING A MOVIE,MOVIE,
WATCHING A NOVELWATCHING A NOVEL
COMENIUS PROJECT 2004/2005COMENIUS PROJECT 2004/2005
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The comparison (or diversity) between wordsand images that is language and cinema
DOUBLE ARTICULATION
THE LANGUAGE
phoneme
morpheme
b+r+e+a+d
d+o+g
t+r+e+e
b r e a d
d o g
t r e e
signifier
signified
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Rapport (ou diversité?) entre parole etimage, c’est à dire entre langue et cinéma
ARTICULATION DOUBLE
LA LANGUE
phoneme
morpheme
p+a+i+n
c+h+i+e+n
a+r+b+r+e
p a i n
c h i e n
a r b r e
signifiant
signification
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Rapporto (o diversità?) tra parola eimmagine, cioè tra lingua e cinema
ARTICOLAZIONE DOPPIA
LA LINGUA
fonemi
morfemi
p+a+n+e
c+a+n+e
a+l+b+e+r+o
p a n e
c a n e
a l b e r o
significante
significato
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The comparison (or diversity) between wordsand images that is language and cinema
SINGLE ARTICULATION
THE CINEMASimultaneouslyboth signifierand signified
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ARTICULATION SINGULIERE
LE CINÉMA
Rapport (ou diversité?) entre parole etimage, c’est à dire entre langue et cinéma
Simultanéitédu signifiant
etsignification
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Rapporto (o diversità?) tra parola eimmagine, cioè tra lingua e cinema
ARTICOLAZIONE SINGOLA
IL CINEMA
Simultaneitàtra
significantee significato
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COMPARISON BETWEEN CINEMA AND REALITY
REALITY
Imagecinematographic
Photo of reality
Sound-music
Colour
Movement
Word = symbolYou must know
the code
Arbitrariness
Conventionality
The comparison (or diversity) between wordsand images that is language and cinema
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ANALOGIE DU CINÉMA AVEC LA RÉALITÉ
RÉALITÉ
Imagecinematographique
Photographie dela réalité
Son-musique
Couleur
Mouvement
Mot = symboleIl faut connaitre
le code
Signe arbitraire
Signeconventionnel
Rapport (ou diversité?) entre parle etimage, c’est à dire entre langue et cinema
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Rapporto (o diversità?) tra parola eimmagine, cioè tra lingua e cinema
RAPPORTO DEL CINEMA CON LA REALTÀ
REALTÀ
Immaginecinematografica
Fotografiadella realtà
Suono-musica
Colore
Movimento
Parola = simboloOccorre conoscere
il codice
Arbitrarietà
Convenzionalità
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Conventionality and Arbitrarinessof the language
• Words are arbitrary and conventional;• There’s no necessary correlation between signifier and significant;• Words are symbolic;• Communication is based on the knowledge of “the code”.
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Signes Conventionelles etSignes Arbitraires
• Les paroles sont arbitraires et conventionelles ;• Il n’y à pas aucun rapport du nécessité entre signifiant et signification ;• Les paroles sont symboliques ;• Dans la communication verbale la connaissance du code linguistique spécifique est necessaire.
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Convenzionalità e Arbitrarietàdella lingua
• Le parole sono arbitrarie e convenzionali;• Non c’è alcun rapporto di necessità tra significante e significato;• Le parole sono simboliche;• La comunicazione verbale si basa sulla conoscenza del codice.
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Conventionality and Arbitrarinessin the cinema
• With images the knowledge of the code is minium;• Images always need to refer to a specific reality;• The cinematographic image (= the iconic reproduction + sound/music + colour + movement) communicates an impression of reality.
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Conventionnalité et Arbitrairietédans le cinéma
• Dans l’image la connaissance du code est minimale ;• L’image fait necessairment reference à une réalité specifique ;• L’image cinematographique (=reproduction iconique + son + musique + couleur + mouvement) communique un impression de la réalité par rapport des mots.
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Convenzionalità e Arbitrarietànel cinema
• Nell’immagine la conoscenza del codice è minima;• L’immagine fa necessariamente riferimento ad una realtà specifica;• L’immagine cinematografica (= riproduzione iconica + suono + musica + colore + movimento) comunica un’impressione di realtà più delle parole.
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BUT
Conventionality and Arbitrarinessin the cinema
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MAIS
Conventionnalité et Arbitrairietédans le cinéma
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MA
Convenzionalità e Arbitrarietànel cinema
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Conventionality and Arbitrarinessin the cinema
• The cinematographic image is BI-DIMENSIONAL;• Embraces a part of time and space in the frame;• Changes the actual dimensions;• Changes the colours of reality;
so it uses specific conventions.
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• L’image cinematographique a deux dimensions ;• Renferme une partìe de l’espace et du temps dans le cadrage ;• Modifie les dimensions reélles ;• Modifie les couleurs du reél;
donc utilise des conventions.
Conventionnalité et Arbitrairietédans le cinéma
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• L’immagine cinematografica è bidimensionale;• Racchiude una parte di spazio e di tempo nell’inquadratura;• Modifica le dimensioni reali;• Modifica i colori del reale;
usa quindi delle convenzioni.
Convenzionalità e Arbitrarietànel cinema
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Literature and Cinema
Denotation=
literal meaning objective
Connotation=
hiddenmeanings
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Literature et Cinéma
Dénotation=
signification objective
Connotation=
significationcomplexe
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Letteratura e Cinema
Denotazione=
significato letterale oggettivo
Connotazione=
significati nascosti
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DENOTATION
The first level of signifying, the registration of reality in the most objective manner
(documentary; reality show; scientific text).
Literature and Cinema
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DENOTATION
La première marche de la signification, la reproduction de la realité, ne la manière la
plus objective (documentaire ; reality show).
Literature et Cinéma
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DENOTAZIONE
Il primo livello del significato, la registrazione della realtà in maniera oggettiva
(documentario; reality show; testi scientifici).
Letteratura e Cinema
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CONNOTATION
It is the second level of signifying of the filming image.
The camera’s presence is felt; it doesn’t reproduce only reality but adds meaning to
what it shows.
Literature and Cinema
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CONNOTATION
C’est la seconde marche de la signification dans l’image filmique.
On avertit la présence de la caméra; elle ne reproduit pas seulement la realité, mais
ajoute en plus des significations.
Literature et Cinéma
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CONNOTAZIONE
È il secondo livello del significato nell’immagine filmica.
Si avverte la presenza della macchina da presa, che non riproduce solo la realtà ma
aggiunge ulteriori significati.
Letteratura e Cinema
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UNIVERSALITY
The word is limited in the circle of whom knows the language.
The image, instead, is universal; it doesn’t have limits of language, of vocabularly and of grammar (although the sensivity of the spectator can be different).
Universality, Abstraction/Substantiality,Temporal dimension
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UNIVERSALITÀ
La parola è limitata alla cerchia di coloro che conoscono una lingua;.
L’immagine, invece, è universale, non conosce frontiere di lingua, di vocabolario, di « grammatica » (anche se la sensibilità degli spettatori può essere diversa).
Universalità, Astrazione/Concretezza,Dimensione temporale
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ABSTRACTION/SUBSTANTIALITY
The cinematographic sign is never comparable to an abstract idea in a direct way. To say “sadness” through an image you have to combine the view of water (=tear) with the view of the eye (=to shed tears); therefore you need to focus single images.
The word expresses the concept, it has the capability of abstraction and synthesis; it is related to solid objects.
Universality, Abstraction/Substantiality,Temporal dimension
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ASTRAZIONE/CONCRETEZZA
Il segno cinematografico non è mai rapportabile ad una idea astratta in modo diretto. Per dire “tristezza” con l’immagine bisogna combinare il segno dell’acqua (=lacrima) con quella dell’occhio (=piangere); bisogna cioè combinare inquadrature singole.
La parola esprime il concetto, ha capacità di astrazione e di sintesi; è riferibile a oggetti concreti.
Universalità, Astrazione/Concretezza,Dimensione temporale
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TEMPORAL DIMENSION
In the language, the temporal dimensions are past, present and future, with numerous shades of meaning.
In the cinematograpic image we see exactly what happens in the front of us.
Universality, Abstraction/Substantiality,Temporal dimension
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DIMENSIONE TEMPORALE
Nel linguaggio le dimensioni temporali sono passato, presente, futuro con sfumature numerosissime.
Nell’immagine cinematografica si vede unicamente ciò che accade dinnanzi ai vostri occhi.
Universalità, Astrazione/Concretezza,Dimensione temporale
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« The cinema is a sequence of scenes in a present hierarchizable
only in the editing phase »Umberto Eco
Universality, Abstraction/Substantiality,Temporal dimension
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« Il cinema è una successione di rappresentazioni di un
presente generalizzabili solo in fase di montaggio »
Umberto Eco
Universalità, Astrazione/Concretezza,Dimensione temporale
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THE ENDTHE END
READING A MOVIE, WATCHING A NOVEL
REALISATION Class 3RD E
Abboni Arianna Battisti Matteo Battisti Nicolò Bonazelli Daniele Campari Milena Carboni Valentina
Caselli Sebastiano Caverni Alessandro Cicoli Alessandro Cicoli Francesco Dragoi Adelina Fuligni Alessia
Gaudenzi Valeria Gervasi Lorenzo Ghiandoni Nadir Giombetti Giulia Hebovija Marsida Letizi Vania
Marinelli Giacomo Paolucci Marco Pazzaglia Sonia Pietrelli Giulia Pompili Caterina Sanchioni Marco Serfilippi
Francesco Signoretti Carolina Ubaldi Laura Zandri Giulia
COORDINATION prof.ssa Paola Fazi