Elisa Gasti | Università degli Studi di Torino (original) (raw)
Laurea magistrale in Comunicazione ICT e Media presso Dipartimento di Culture, Politica e Società e laurea triennale in Scienze della Comunicazione presso Dipartimento di Lettere e Filosofia - (Università di Torino).
In entrambe le mie tesi affronto come argomento portante il "sushi". In quella triennale il mio obiettivo è quello di cogliere l'immaginario occidentale del sushi e in quella magistrale effettuo un'analisi del sushi come parte di un sistema sociotecnico vagliando le conseguenze del suo consumo nel mercato globale.
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Papers by Elisa Gasti
Sushi has permeated numerous spheres of sense in present–day Western society. This Japanese dish,... more Sushi has permeated numerous spheres of sense in present–day Western society. This Japanese dish, increasingly less exotic and more familiar, has
come to constitute a semiosphere of its own which, starting from the semiotic issue of food as a signifying vehicle, now crosses into other universes and assumes the status of a crossmedial vector. This conception of sushi as an
actor whose semiosic identity in Western societies is in constant evolution lies at the base of this paper which, concentrating on case studies belonging to a specific medium about which semiotics has already had much to say, intends to recreate the structure of theWestern imaginary of sushi in relation to its cinematographic representation. If the crasis between food, cinema and
imaginary already underpins a literature which still has a lot more to say, it proves fruitful at this point to ask what the consequences are in terms of the imaginary when sushi becomes the dominant element in a triad of recent —
and totallyWestern — films: Jiro Dreams of Sushi (Gelb 2011), Sushi Girl (Saxton 2012), Sushi: The Global Catch (Hall 2012).
Thesis Chapters by Elisa Gasti
Sushi has permeated numerous spheres of sense in present–day Western society. This Japanese dish,... more Sushi has permeated numerous spheres of sense in present–day Western society. This Japanese dish, increasingly less exotic and more familiar, has
come to constitute a semiosphere of its own which, starting from the semiotic issue of food as a signifying vehicle, now crosses into other universes and assumes the status of a crossmedial vector. This conception of sushi as an
actor whose semiosic identity in Western societies is in constant evolution lies at the base of this paper which, concentrating on case studies belonging to a specific medium about which semiotics has already had much to say, intends to recreate the structure of theWestern imaginary of sushi in relation to its cinematographic representation. If the crasis between food, cinema and
imaginary already underpins a literature which still has a lot more to say, it proves fruitful at this point to ask what the consequences are in terms of the imaginary when sushi becomes the dominant element in a triad of recent —
and totallyWestern — films: Jiro Dreams of Sushi (Gelb 2011), Sushi Girl (Saxton 2012), Sushi: The Global Catch (Hall 2012).