Any communication channel plays an important role in shaping and influencing the population which it targets and at the same time in reflecting each aspect of society. Since the late 1960s, the ways of communication adopted by some social realities which have been defined as “underground”, have helped to create new collective imaginaries through the creation and use of media free of any conformity which, by adopting specific channels and artifacts, have made it possible to get to know other perspectives of society, spreading innovative behaviors and costumes and effectively creating a collective heritage of social value. Through a reading of the society, carried out through an overview of the contents, of the languages and of the forms submitted by these "unofficial" channels, the editorial-type self-handling have been assessed and, more specifically, the fanzines: publications designed and managed by groups of fans themselves. This efficient tool of alternative expression immediately tends to wander towards those issues which official publishing very rarely, if ever, took into account, proving to be a genuine and debunking mirror of contemporary reality, told directly by its protagonists. Reconnaissance work carried out by collecting, cataloguing and analysing punkzines produced between 1977 and 1990 together with the proposal of an animated digital archive of the collected material, which can be implemented by users, has been considered the most effective way of allowing access to this type of contents,otherwise untraceable because of their ephemeral character. A platform with the aim of keeping, cataloguing and thus allowing the circulation of fanzines and a will to share and to cooperate, typical of the self-handling ethic which defines them.
Qualsiasi canale di comunicazione svolge l’importante ruolo di formare e di influenzare la popolazione a cui si rivolge e, allo stesso tempo, di rispecchiare ogni lato della società. A partire dalla fine degli anni Sessanta, le modalità comunicative adottate da alcune realtà sociali definibili come undeground, hanno contribuito a creare nuovi immaginari collettivi attraverso la realizzazione e la fruizione di media liberi da ogni conformismo che, adottando specifici canali e artefatti comunicativi, hanno permesso di conoscere altre prospettive della società , diffondendo costumi e comportamenti innovativi e creando a tutti gli effetti un patrimonio collettivo di valore sociale. Attraverso una lettura della società, svolta mediante una panoramica dei contenuti, dei linguaggi e delle forme proposte da questi canali “non ufficiali”, sono state prese in esame le autoproduzioni di tipo editoriale e, nello specifico, le fanzine: pubblicazioni cartacee ideate e gestite dagli stessi fan. Questo efficace strumento di espressione alternativa tende nell’immediato a spaziare verso quei temi che l’editoria ufficiale poco o per nulla prendeva in considerazione, dimostrandosi uno specchio genuino e dissacrante, della realtà contemporanea, raccontata direttamente dai suoi protagonisti. Un lavoro di ricognizione svolto per mezzo di una raccolta, una catalogazione e un’analisi di punkzine prodotte tra il 1977 e il 1990 insieme alla proposta di un archivio digitale animato del materiale raccolto, implementabile dagli utenti, è stato ritenuto il modo più efficace al fine di permettere l'accessibilità a questo tipo di contenuti, non tracciabili altrimenti a causa del loro carattere effimero. Una piattaforma con l'obiettivo di conservare, catalogare e quindi di permettere la diffusione delle fanzine e la volontà di condivisione e di collaborazione propri dell’etica dell’autoproduzione che le caratterizza.
La diffusione continua. Archivio digitale delle punkzine italiane (1977-1990)
LOPRESTI, LUCREZIA
2016/2017
Abstract
Any communication channel plays an important role in shaping and influencing the population which it targets and at the same time in reflecting each aspect of society. Since the late 1960s, the ways of communication adopted by some social realities which have been defined as “underground”, have helped to create new collective imaginaries through the creation and use of media free of any conformity which, by adopting specific channels and artifacts, have made it possible to get to know other perspectives of society, spreading innovative behaviors and costumes and effectively creating a collective heritage of social value. Through a reading of the society, carried out through an overview of the contents, of the languages and of the forms submitted by these "unofficial" channels, the editorial-type self-handling have been assessed and, more specifically, the fanzines: publications designed and managed by groups of fans themselves. This efficient tool of alternative expression immediately tends to wander towards those issues which official publishing very rarely, if ever, took into account, proving to be a genuine and debunking mirror of contemporary reality, told directly by its protagonists. Reconnaissance work carried out by collecting, cataloguing and analysing punkzines produced between 1977 and 1990 together with the proposal of an animated digital archive of the collected material, which can be implemented by users, has been considered the most effective way of allowing access to this type of contents,otherwise untraceable because of their ephemeral character. A platform with the aim of keeping, cataloguing and thus allowing the circulation of fanzines and a will to share and to cooperate, typical of the self-handling ethic which defines them.File | Dimensione | Formato | |
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Lopresti-Lucrezia_La diffusione continua_LOW.pdf
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Descrizione: Tesi, La Diffusione Continua, Archivio digitale delle punkzine italiane (1977-1990)
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https://hdl.handle.net/10589/140903