This paper presents the first results of a research on the topic of tactile devices for the fruition of films by blind people. This topic has been rarely addressed so far, and its principles have not been systematized yet. Therefore, it offers many possibilities for experimentation. Research is still ongoing and has been simultaneously developed for the tactile perception of photography and two-dimensional graphic arts. This paper will focus on cinematography, while referring to principles which are mostly valid for other figurative forms. The auxiliary tools currently available to a blind person to enjoy a film consist exclusively of audio supports which integrate the dialogues between the characters and offer minimal information relating to visual qualities. The audio integrations, based on the verbal description, are not suitable for describing many expressive components related to visuality (shots, optics, video camera movements, choices related to film editing etc.) which, as is evident, constitute essential elements to fully appreciate a movie. The most advanced studies and the first prototypes made in the digital tactile devices industries (motorized microspheres tablets), even if not yet available on a commercial scale, could expand an economically relevant sector of great scientific interest for design science. In addition, it would allow inclusiveness and greater access to culture to a category of disadvantaged people. In this paper we describe the method developed to achieve the bas-reliefs of the key scenes of a film, applying it to Alfred Hitchcock’s Rear Window and trying to focus on the weaknesses and potentials of this experience.
Questo studio presenta i primi risultati di una ricerca sul tema dei dispositivi tattili per favorire la fruizione dei film da parte dei non vedenti. Un argomento allo stato attuale poco indagato, i cui principi non sono ancora stati sistematizzati e che, pertanto, offre ampi margini di sperimentazione. La ricerca è ancora in corso ed è stata contemporaneamente sviluppata per la fotografia e le arti grafiche bidimensionali. In questa sede ci limiteremo a trattare la cinematografia, pur facendo riferimento a considerazioni che, in buona parte, sono valide anche per altre forme figurative. Gli strumenti ausiliari attualmente a disposizione di un non vedente per la fruizione di un film consistono esclusivamente in supporti audio che integrano i dialoghi e offrono informazioni minime su elementi visuali rilevanti per lo sviluppo della narrazione. Le integrazioni audio, basate sulla descrizione verbale, non sono però idonee a rendere molte componenti espressive legate alla visualità (inquadrature, ottiche, movimenti di macchina, scelte legate al montaggio ecc.) che, com’è evidente, costituiscono elementi imprescindibili per apprezzare pienamente un film. Gli studi ormai avanzati e i primi prototipi realizzati nel campo dei dispositivi tattili digitali (tablet a microsfere motorizzate), anche se ancora non disponibili su scala commerciale, potrebbero ampliare un settore economicamente rilevante e di grande interesse scientifico. Inoltre, permetterebbero l’inclusività e un maggiore accesso alla cultura da parte di una categoria svantaggiata. In questo saggio descriveremo il metodo sviluppato per realizzare i supporti tattili delle scene chiave di un film, applicandolo a La finestra sul cortile (Rear Window) di Alfred Hitchcock e successivamente valutando i limiti e le potenzialità della sperimentazione.
Cinema per i non vedenti. Dispositivi tattili per la fruizione/Cinema for the blind. Tactile devices for enjoyment / Colistra, D.; Puccinelli, G.. - (2020), pp. 3129-3154. (Intervento presentato al convegno Connettere. Un disegno per annodare e tessere. tenutosi a Reggio Calabria nel 17, 18, 19 settembre 2020) [10.3280/oa-548.171].
Cinema per i non vedenti. Dispositivi tattili per la fruizione/Cinema for the blind. Tactile devices for enjoyment
Colistra D.;
2020-01-01
Abstract
This paper presents the first results of a research on the topic of tactile devices for the fruition of films by blind people. This topic has been rarely addressed so far, and its principles have not been systematized yet. Therefore, it offers many possibilities for experimentation. Research is still ongoing and has been simultaneously developed for the tactile perception of photography and two-dimensional graphic arts. This paper will focus on cinematography, while referring to principles which are mostly valid for other figurative forms. The auxiliary tools currently available to a blind person to enjoy a film consist exclusively of audio supports which integrate the dialogues between the characters and offer minimal information relating to visual qualities. The audio integrations, based on the verbal description, are not suitable for describing many expressive components related to visuality (shots, optics, video camera movements, choices related to film editing etc.) which, as is evident, constitute essential elements to fully appreciate a movie. The most advanced studies and the first prototypes made in the digital tactile devices industries (motorized microspheres tablets), even if not yet available on a commercial scale, could expand an economically relevant sector of great scientific interest for design science. In addition, it would allow inclusiveness and greater access to culture to a category of disadvantaged people. In this paper we describe the method developed to achieve the bas-reliefs of the key scenes of a film, applying it to Alfred Hitchcock’s Rear Window and trying to focus on the weaknesses and potentials of this experience.File | Dimensione | Formato | |
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