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Paolo Carelli, Claudia Giocondo Comunicazioni Sociali on-line Dottorato di ricerca in Culture della Comunicazione Dipartimento di Scienze della Comunicazione e dello Spettacolo UNIVERSITÀ CATTOLICA DEL SACRO CUORE 4 • 2011 | © Vita e Pensiero | ISSN 2037-0415 REDAZIONE Ruggero Eugeni, Luca Barra, Andrea Cuman, Adriano D’Aloia, Laura Peja, Cecilia Penati, Massimo Scaglioni, Matteo Tarantino COMITATO SCIENTIFICO Gianfranco Bettetini, Piermarco Aroldi, Claudio Bernardi, Annamaria Cascetta, Francesco Casetti, Fausto Colombo, Ruggero Eugeni, Mariagrazia Fanchi, Armando Fumagalli, Chiara Giaccardi, Aldo Grasso, Silvano Petrosino, Giorgio Simonelli EDITING n. 4 • 2011 Giorgio Avezzù, Gisella Carelli, Mara Cicchirillo Comunicazioni Sociali on-line Dottorato di ricerca in Culture della Comunicazione Dipartimento di Scienze della Comunicazione e dello Spettacolo UNIVERSITÀ CATTOLICA DEL SACRO CUORE 4 • 2011 | © Vita e Pensiero | ISSN 2037-0415 INDICE 4 CARCERI. Presentazione Matteo Tarantino 6 LE PRIGIONI DEL LINGUAGGIO PUBBLICITARIO ITALIANO. E alcuni piani internazionali di fuga Patrizia Musso, Elisabetta Sala 17 CATTURATI DALLE STORIE. Il carcere come figura narrativa in Romanzo Criminale – La serie Adriano D’Aloia, Cecilia Penati 30 ETEROTOPIA DELLA PRIGIONE. Due esempi dal cinema dell’estremo oriente Andrea Chimento 41 LUOGO, PROVA, ESPEDIENTE, PUNIZIONE. Le molteplici facce del carcere nel videogame Mauro Salvador 53 LEZIONE DI FISICA DEL LINGUAGGIO IN 9m² Mauro Buzzi 64 NIENTE È COME SEMBRA! Sviluppi contemporanei del teatro in carcere: l’esperienza di Brescia Giulia Innocenti Malini 76 CARCERI INVISIBILI. Il giornalismo carcerario italiano tra informazione e formazione Francesca Burichetti 92 LA TEMPESTA IMPRIGIONATA. La sopravvivenza (im)possibile del teatro in carcere Camilla Maccaferri 100 LA SPINGULA. Un laboratorio teatrale sull’Iliade nella Casa Circondariale di Pavia Francesca Barbieri 110 RECENSIONI Comunicazioni Sociali on-line Dottorato di ricerca in Culture della Comunicazione Dipartimento di Scienze della Comunicazione e dello Spettacolo UNIVERSITÀ CATTOLICA DEL SACRO CUORE 4 • 2011 | © Vita e Pensiero | ISSN 2037-0415 MATTEO TARANTINO CARCERI Presentazione Quasi per definizione, accostare carceri e media origina cortocircuiti. Laddove il carcere separa, il medium connette; laddove il carcere rinchiude, il medium apre; laddove il carcere amputa, il medium estende; laddove il carcere occulta, il medium mostra. E così via, in una lunga serie di paradossi simbolici, sociologici e linguistici che ci dicono molto – perlomeno in potenza – tanto sulle forme di disciplina, quanto su natura, funzione e scopo dei media. A ben vedere, la tensione fra media e carcerazione attraversa tutta la storia di quella che definiamo “modernità” – un periodo segnato da un pas de deux fra tecnologia e società. Semplificando, sono ravvisabili due poli. Da un lato, i media sono stati largamente considerati come elementi funzionali (quando non costitutivi) rispetto a un dispositivo carcerario focaultianamente inteso come puntiforme e diffuso. L’assunto di fondo è che l’intera società moderna, rotti gli originari “equilibri societari”, necessiti di forme di coercizione disciplinare diffuse per irreggimentare i cittadini dentro forme di produzione avanzate (si veda tutto il tema dei surveillance studies, per cui questa tensione si incarna in dispositivi tecnologici). Di questo “carcere invisibile” i circuiti mediali costituirebbero il sistema nervoso, oltreché fornirvi alcuni organi direttivi: occhi, orecchie, bocca. In questo senso, le tecnologie mediali sarebbero funzionali al regime dando forma a corpi e pratiche attraverso l’osservazione diretta e indiretta e naturalizzando il senso comune su cui poggia l’apparato disciplinare. D’altro canto, non sono pochi i teorici dei media – fra cui Thompson – per cui i media rappresentano invece precisamente un antidoto a tale “carcerizzazione” della società. In tal senso essi agirebbero anzitutto come garanti di una reciprocità di sguardo fra potere e cittadino tale per cui sia il corpo del cittadino che quello del potente risulterebbero visibili (e quindi oggetto di reciproco controllo) nello spazio mediale. Non solo: i media sarebbero anche empowering rispetto al corpo del cittadino, dotandolo dei mezzi per fuoriuscire da uno stato di sostanziale passività rispetto alle logiche del potere e del capitale, rendendolo in grado di operare resistenze significative a livello di tattiche come di strategie. Si tratta di questioni grandi e importanti. Il piccolo contributo al dibattito che questo numero di CS online intende fornire si fonda sulla convinzione che sia utile rovesciare la prospettiva tradizionale: non ragionare Matteo Tarantino CARCERI Presentazione in termini di “carcerizzazione” metaforica ma tornare, per così dire, all’origine, andando a osservare le concrete interazioni fra i media e il più archetipale fra i dispositivi di disumanizzazione: l’edificio carcerario. I nove saggi che lo compongono analizzano l’incontro fra l’edificio-carcere e quattro media – se vogliamo, quattro stadi dell’evoluzione novecentesca delle arti performative: il teatro, il cinema, la televisione e il videogioco. Nell’osservare linguaggi, pratiche e modalità attraverso cui il corpo carcerato si fa (o viene reso) di volta in volta oggetto o agente di rappresentazione, ciascun saggio fa emergere in controluce tensioni, linee di fuga e problemi imperniati sulla natura liminale (e quindi, di nuovo, ambigua) dello spazio carcerario e del corpo carcerato. Il saggio di Patrizia Musso e Valentina Sala analizza i registri attraverso cui il linguaggio pubblicitario rappresenta lo spazio carcerario, soffermandosi in particolare su alcune esperienze recenti che giocano con successo con la natura ansiogena e la caratterizzazione negativa che tradizionalmente hanno mantenuto lo spazio carcerario alla periferia del discorso pubblicitario. Il saggio di Cecilia Penati e Adriano D’Aloia utilizza una serie tv di successo come Romanzo Criminale (e, per comparazione, l’utilizzo dell’edificio carcerario in altri telefilm), in cui il carcere svolge sostanzialmente funzione condensativa, snodo di stratificazioni linguistiche e narrative e peculiare “spazio altro” e connettivo. Anche Andrea Chimento si misura con la questione dello “spazio altro”, mettendo in gioco direttamente la nozione di foucaultiana di eterotopia, per illustrare le dinamiche di messa in scena di spazi e corpi carcerari articolate in due film coreani. Strutturando il proprio apparato analitico intorno alle riflessioni di Joseph Campbell, Mauro Salvador esplora invece alcuni degli stilemi e delle valenze attraverso cui il videogioco mette in scena il carcere, isolando un paradigma di funzioni in cui l’aspetto narrativo e quello “ludologico” si intrecciano. Utilizzando come caso di studio 9m2, film prodotto da un collettivo francese con il coinvolgimento di carcerati, Mauro Buzzi colloca la sua riflessione a cavallo fra le dinamiche della rappresentazione e quelle della produzione. Come Penati, D’Aloia e Chimento, anche Buzzi individua nel carcere un trait-d’union fra mondi; attraverso la rappresentazione del quotidiano carcerario, 9m2 fornisce secondo Buzzi le coordinate ontologiche di uno spazio a metà fra l’arte e il reale. Sul versante della produzione mediale in carcere, il saggio di Giulia Innocenti Malini focalizza l’attenzione sulle dinamiche istituzionali e di potere che sostengono (od ostacolano) il verificarsi delle esperienze di teatro in carcere. Francesca Burichetti esplora fragilità e punti di forza del giornalismo carcerario, mettendone in luce i complessi processi gestativi, e le molteplici pressioni (dirette e indirette) cui è soggetto. Infine, da due punti di vista diversi, Camilla Maccaferri e Francesca Barbieri analizzano ciascuna un’esperienza di teatro in carcere, mettendo in luce come tale disciplina articoli un dispositivo di costruzione di un corpo carcerato peculiare (l’attore-carcerato) con finalità etiche e formative. Buona lettura. 5 Comunicazioni Sociali on-line 4 • 2011 | © Vita e Pensiero Comunicazioni Sociali on-line Dottorato di ricerca in Culture della Comunicazione Dipartimento di Scienze della Comunicazione e dello Spettacolo UNIVERSITÀ CATTOLICA DEL SACRO CUORE 4 • 2011 | © Vita e Pensiero | ISSN 2037-0415 PATRIZIA MUSSO, ELISABETTA SALA LE PRIGIONI DEL LINGUAGGIO PUBBLICITARIO ITALIANO E alcuni piani internazionali di fuga Introduzione Il carcere, di per sé, non sembra presentare alcuna caratteristica atta a un suo efficace utilizzo come location per uno spot pubblicitario contemporaneo: oltre alla sua dimensione denotativa, l‟ampia e variegata di- spersione connotativa lo rendono in linea di principio un ambiente con una scarsa valenza attrattiva per le imprese, intenzionate da sempre a promuovere nel migliore dei modi (quindi in ambienti da sogno e con personaggi positivi e da imitare) i loro prodotti e servizi. A meno di non ricorrere a strategie discorsive che siano in grado di aprire un gioco comunicativo in cui si lascia al destinatario il compito di percepire l‟eventuale incoerenza di base e di chiudere così, correttamente, il percorso di senso dell‟emittente. Si tratta di una strategia che per “cultura comunicativa” non appartiene, tendenzialmente, al linguaggio pubblicita- rio italiano, «non fa parte del nostro dna […], nonostante in altri campi il made in Italy si riconosca per la straordinaria capacità di „generare il sorriso‟»: dalla musica alla moda fino al design1. Tenendo in considerazione tali premesse, due recenti casi pubblicitari incentrati
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