The different rifles of audiovisual communication: a semiotics of foreshadowing and the case of Roberto Benigni

Multiscreen society bombards us with images about which we can not think, to this is added a technological development that is hast urned us as a issues – receivers of pictures / images in our daily lives. Thus arises a need to deepen the possibilities of emancipation that the current socio-historical landscape can have.“Educar la mirada” we are a group of professionals in education and audiovisual communication that pretend, through film- art and new audiovisual creation devices, to encourage literacy and audiovisual creation for life. We start from work with collectives whose artistic motive has no lucrative interest, such as the public school; hence our interest in non-productive subjects. This project arises from the work carried out by the Trabenco Educational Community ( Public School ) in relation to the environment that exists between childhood and the audiovisual media.Theories of reflection on audiovisual literacy and ways of doing creative people who have a clearer meaning for our approach are: F.P.R Bergala, work CineSinAutor, proposals for Medvedkin, language patterns Alxander and creative crystallizations by authors such as Trier, Rossellini, Rodari, Vigotsky or Svankmajer.This project aims at a careful attention to the audiovisual with the intention of giving it a use beyond stagnant paradigms, where the possibilities we seek are those that make effective the needs and purposes that are given by the collectives themselves.

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The relevance of public policies for the sustainability of community media: Lessons from Argentina

Journal of Alternative & Community Media ◽

10.1386/joacm_00050_1 ◽

2019 ◽

Vol 4 (2) ◽

pp. 74-90

Author(s):

Mara Soledad Segura ◽

Alejandro Linares ◽

Agustn Espada ◽

Vernica Longo ◽

Ana Laura Hidalgo ◽

...

Keyword(s):

Latin American ◽

Public Policies ◽

The State ◽

Audiovisual Communication ◽

Community Media ◽

Communication Services ◽

Non Profit ◽

Promotion Policies ◽

History Of ◽

Extreme Media

Since 2004 and for the first time in the history of broadcasting in the region, a dozen Latin American countries have acknowledged community radio and television stations as legal providers of audiovisual communication services. In Argentina, a law passed in 2009 not only awarded legal recognition to the sector, it also provided a promotion mechanism for community media. In this respect, it was one of the most ambitious ones in the region. The driving question is: How relevant are public policies for the sustainability of community media in Argentina? The argument is: even though the sector of community media has developed and persisted for decades in illegal conditions imposed by the state, the legalization and promotion policies carried out by the state from the perspective of human rights in a context of extreme media ownership concentration have been critical to the growth and sustainability of non-profit media.

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Audiovisual Communication

Quality of Experience - T-Labs Series in Telecommunication Services ◽

10.1007/978-3-319-02681-7_14 ◽

2014 ◽

pp. 195-212 ◽

Cited By ~ 3

Author(s):

Markus Vaalgamaa ◽

Benjamin Belmudez

Keyword(s):

Audiovisual Communication

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Veinte años de docencia de la fotografía. Estudio de caso: Escuela de Arte de Huesca (España), Twenty years teaching photography. Case study: The Art School of Huesca (Spain)

Libro de Actas - I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia ◽

10.4995/cifo17.2017.6741 ◽

2017 ◽

Author(s):

Virginia Espa Lasaosa ◽

María José Gutiérrez Lera ◽

María Cañas Aparicio ◽

María Adelaida Gutiérrez Martín

Keyword(s):

Teaching Experience ◽

Project Based Learning ◽

Audiovisual Communication ◽

Professional Career ◽

The Arts ◽

Palabras Clave ◽

Legislative Changes ◽

State Educational ◽

Professional Occupation ◽

European Training

ResumenEl Ciclo Formativo de Grado Superior en Fotografía pertenece a la familia profesional artística de Comunicación Gráfica y Audiovisual y forma parte del sistema educativo español público.Esta comunicación presenta un panorama de la evolución de los estudios sobre fotografía en las Escuelas de Artes Plásticas y Diseño, exponiendo, a través del ejemplo de la Escuela de Arte de Huesca, el caso de la Comunidad Autónoma de Aragón.La implantación del grado superior de fotografía en Huesca se incardinó en la estructura propicia que aportaba una ciudad acostumbrada a valorar este modo de expresión icónica: el Festival Huesca Imagen en su día, una Fototeca pionera en medios y procedimientos, o actualmente el programa Visiona demuestran un interés particular por la imagen fotográfica.Nuestra sólida trayectoria ha pasado necesariamente por cambios tecnológicos y legislativos que han marcado la adaptación de la docencia a continuos retos. Aspectos como la aplicación de metodologías activas; el aprendizaje basado en proyectos; las constantes referencias a cuestiones teóricas e históricas, así como a los debates contemporáneos en torno a la fotografía; la innovación en los procesos de evaluación y el seguimiento individualizado basado en tutorías se incorporan a nuestra didáctica cotidiana y facilitan la adquisición de competencias de acuerdo a las nuevas exigencias curriculares, profesionales y artísticas.La formación que impartimos insiste en la reflexión sobre el proceso fotográfico como un hecho consustancial a la sociedad actual. A través de la acreditación en el Programa Erasmus+, nuestros estudiantes tienen además la posibilidad de relacionarse con el espacio formativo europeo y ven favorecida su futura inserción en el mercado laboral.A lo largo de estos años hemos logrado contar con la presencia de figuras de reconocido prestigio en diversos campos de la fotografía, personalidades que han aportado su visión y su saber a la Escuela. Desde nuestra perspectiva, la fotografía no sólo es una disciplina artística o una ocupación profesional, sino que constituye globalmente un modo de vida. Eso es lo que intentamos transmitir año tras año en nuestras aulas.AbstractThe Professional studies of Higher Degree in Photography belongs to the artistic professional family of Graphic and Audiovisual Communication and it is part of the Spanish state educational system. This paper presents an overview of the evolution of these studies on photography in the Arts and Design Schools and explains the example of Aragón, through the case of the School of Art of Huesca.The implementation of the higher degree in Photography in Huesca took place in a suitable background provided by a city used to value this iconic mode of expression: The former Festival “Huesca Imagen”, an innovative Fototeca in procedures and resources; or nowadays, the program “Visiona”, all of them show a particular interest on the photographic image.Our well stablished professional career has necessarily come across technological and legislative changes that have marked the adaptation of teaching to continuous challenges. Aspects such as the application of active methodologies; Project-based learning; Constant references to theoretical and historical issues as well as to contemporary debates on photography; Innovation in evaluation processes and individualized monitoring based on personal tutoring are incorporated into our everyday teaching and facilitate the acquisition of competences according to upcoming curricular, professional and artistic requirements.The training we provide stresses thinking about photography as a process consubstantial to our current society. Through the accreditation in the Erasmus + Program, our students have also the possibility to take part of the European training space and facilitate their future insertion in the labor market.Throughout these years we have had the opportunity to count on the presence of personalities of recognized prestige in various fields of photography, who have cast their vision and their knowledge to the School. From our own perspective, photography is not only an artistic discipline or a professional occupation, but conforms a whole way of life. That is what we try pass on in our classrooms year after year. Palabras clave: metodologías, evaluación, evolución, proyectos, experiencia docente, competencias, pública, Erasmus+, arte, tecnología.Keywords: methodology, assessment, progress, projects, teaching experience, skills, state school, Erasmus+, arts, technology.

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Adaptation of retired people to Internet environment

Social Psychology and Society ◽

10.17759/sps.2018090210 ◽

2018 ◽

Vol 9 (2) ◽

pp. 150-164

Author(s):

O.A. Alekseeva ◽

O.Y. Bestuzheva ◽

O.N. Vershinskaya ◽

E.E. Skvortsova

Keyword(s):

Information And Communication Technologies ◽

Cultural Knowledge ◽

Economic Behavior ◽

Sociological Research ◽

Audiovisual Communication ◽

Goods And Services ◽

Internet Users ◽

Information And Communication ◽

Smart Things ◽

Academy Of Sciences

The article presents the results of qualitative sociological research of information and communication technologies influence on social behavior and lifestyle of older Internet users conducted by a multidisciplinary group of the Laboratory of social and economic behavior of The Institute of Social and Economic Studies of Population, The Russian Academy of Sciences. The study involved Internet users of retirement age from 56 to 89 years. The survey was conducted by in-depth interview. The main changes in the life of the Internet users of the older generation were revealed and main characteristics of the new digital techno style of life were determined: use of new forms of textual, visual and audiovisual communication for interaction; obtaining cultural knowledge and necessary information; buying goods and services and paying bills from home; extensive use of state services online; the gradual move away from print media; using “smart” things. The analysis of respondents ‘ communication showed that older people can be divided into three groups: those for whom communication has become predominantly electronic; those who persistently prefer live communication, and those for whom electronic communication is additional to live communication.

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The Divine Comic. The Cinema of Roberto Benigni

Quaderni d'italianistica ◽

10.33137/q.i..v24i2.9239 ◽

2003 ◽

Vol 24 (2) ◽

pp. 142-143

Author(s):

Carlo Celli (book author) ◽

Rachele Longo Lavorato (review author)

Keyword(s):

Roberto Benigni

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Are the indigenous media community media? Experiences of native peoples’ media practices in Argentina

Ethnicities ◽

10.1177/1468796818810006 ◽

2018 ◽

Vol 20 (3) ◽

pp. 383-407

Author(s):

Francesca Belotti

Keyword(s):

Public Space ◽

Indigenous Communities ◽

Legal Framework ◽

Legislative Process ◽

International Studies ◽

Audiovisual Communication ◽

Structured Interviews ◽

Community Media ◽

Indigenous Media ◽

The Law

The study focuses on indigenous radio practices in Argentina under the implementation of the 2009 Law 26.522 on Audiovisual Communication Services, currently undergoing reform. This pioneering law recognised indigenous broadcasters, thereby satisfying the call of indigenous organisations, during the legislative process, for their right to ‘communication with identity’ to be included. Nevertheless, we believe that the application of the law has been weak overall, and that the legal definition of media is questionable. Furthermore, we have hypothesised that indigenous media are caught between de jure public ownership and de facto communal belonging. This hypothesis derives from a comparative analysis of the Argentinian legal framework and similar reforms implemented throughout Latin America, as well as from a dialogue between international studies on community media and the literature on indigenous media. In order to determine whether and in what terms indigenous media can be considered as community media, we carried out semi-structured interviews with key informants from indigenous communities who had been authorised to broadcast under the law’s implementation. We explored the genesis and objectives of their communication projects; programming and agendas; external relationships; internal organisation (with a focus on the sustainability strategies adopted); respondents’ definitions of ‘community communication’, ‘indigenous communication’ and ‘communication with identity’; and respondents’ opinions on the application of the law and its media definition. We found that many indigenous broadcasters in Argentina act as community media and resemble them ontically – that is to say, in how and why they remain in the (mediatised) public space. Nevertheless, indigenous radio is ontologically different from community media because it is often shaped by its ethnic identity, namely, who the indigenous peoples are and how they represent themselves in the (mediatised) public space.

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