Journal of Italian Cinema & Media Studies (Journal)

ISSN 20477368 , ONLINE ISSN 20477376

Journal of Italian Cinema & Media Studies is a fully peer-reviewed, English-language journal, which explores Italian cinema and media as sites of crossing, allowing critical discussion of the work of filmmakers, artists in the film industry and media professionals. The journal intends to revive a critical discussion on the auteurs, celebrate new directors and accented cinema and examine Italy as a geo-cultural locus for contemporary debate on translocal cinema.

NEW SECTION ANNOUNCEMENT: Translations & Archival Notes



Principal Editor

Flavia Laviosa
Wellesley College, USA
flaviosa@wellesley.edu

Associate Editors

Milly Buonanno
La Sapienza Università di Roma, Italy
mbuonanno.it@gmail.com

Stephen Gundle
University of Warwick, UK
S.Gundle@warwick.ac.uk

Giorgio Bertellini
University of Michigan, USA
giorgiob@umich.edu

Reviews Editor

Ellen Nerenberg
Wesleyan University, USA
enerenberg@wesleyan.edu

Editorial Assistants

Glen Bonnici
University of Malta, Malta

Megan D'Alessandro
Wellesley College, USA

Melissa Loza
Wellesley College, USA

Rory McKenzie
Victoria University of Wellington, New Zealand
rory.mckenzie@vuw.ac.nz

Journal of Italian Cinema & Media Studies is an English-language forum for theoretical, methodological and critical debate on Italian film and media production, reception and consumption. It provides a platform for dialogue between academics, filmmakers, cinema and media professionals. This peer-reviewed journal invites submissions of scholarly articles relating to the artistic features, cultural themes, international influence and history of Italian film and media. Furthermore, the journal intends to revive a critical discussion on the auteurs, revisit the historiography of Italian cinema and celebrate the dynamic role played by new directors. The journal includes a book and film review section as well as notes on Italian film festivals abroad and international conference reports.

The profound transformation undergone by the rapidly expanding media environment under the impact of digital technology, has lead scholars in the field of media studies to elaborate new theoretical paradigms and methodological approaches to account for the complexities of a changing landscape of  convergence and hybridization. The boundaries between cinema and media as art forms and fields of inquiry are increasingly hybridized too. Taking into account this evolving scenario, the JICMS provides an international arena for critical engagement with a wider range of issues related to the current media environment. The journal welcomes in particular contributions that discuss any aspects of Italian media production, distribution and consumption within national and transnational, social, political, economic and historical contexts.

 


Principal Editor

Flavia Laviosa
Wellesley College, USA
flaviosa@wellesley.edu

Associate Editors

Milly Buonanno
La Sapienza Università di Roma, Italy
mbuonanno.it@gmail.com

Stephen Gundle
University of Warwick, UK
S.Gundle@warwick.ac.uk

Giorgio Bertellini
University of Michigan, USA
giorgiob@umich.edu

Reviews Editor

Ellen Nerenberg
Wesleyan University, USA
enerenberg@wesleyan.edu

Editorial Assistants

Glen Bonnici
University of Malta, Malta

Megan D'Alessandro
Wellesley College, USA

Melissa Loza
Wellesley College, USA

Rory McKenzie
Victoria University of Wellington, New Zealand
rory.mckenzie@vuw.ac.nz

Principal Editor

Flavia Laviosa
Wellesley College, USA
flaviosa@wellesley.edu

Associate Editors

Milly Buonanno
La Sapienza Università di Roma, Italy
mbuonanno.it@gmail.com

Stephen Gundle
University of Warwick, UK
S.Gundle@warwick.ac.uk

Giorgio Bertellini
University of Michigan, USA
giorgiob@umich.edu

Reviews Editor

Ellen Nerenberg
Wesleyan University, USA
enerenberg@wesleyan.edu

Editorial Assistants

Glen Bonnici
University of Malta, Malta

Megan D'Alessandro
Wellesley College, USA

Melissa Loza
Wellesley College, USA

Rory McKenzie
Victoria University of Wellington, New Zealand
rory.mckenzie@vuw.ac.nz

Principal Editor

Flavia Laviosa
Wellesley College, USA
flaviosa@wellesley.edu

Associate Editors

Milly Buonanno
La Sapienza Università di Roma, Italy
mbuonanno.it@gmail.com

Stephen Gundle
University of Warwick, UK
S.Gundle@warwick.ac.uk

Giorgio Bertellini
University of Michigan, USA
giorgiob@umich.edu

Reviews Editor

Ellen Nerenberg
Wesleyan University, USA
enerenberg@wesleyan.edu

Editorial Assistants

Glen Bonnici
University of Malta, Malta

Megan D'Alessandro
Wellesley College, USA

Melissa Loza
Wellesley College, USA

Rory McKenzie
Victoria University of Wellington, New Zealand
rory.mckenzie@vuw.ac.nz

Notes for Contributors Download

NEW SECTION ANNOUNCEMENT: Translations & Archival Notes Download


Call for Papers

International Conference

Passeurs. Italian Culture Beyond Italian Shores (1945–89). Reception and Imagination

Literature – Cinema – Media

2628 August 2020

University of Buenos Aires

 

Premise: Reception and imagination

Beginning in the year 2018, a group of Italianists hailing from various European universities including Caen Normandie (France), Humboldt zu Berlin (Germany), Mons (Belgium), Compultense de Madrid (Spain), Siena Stranieri (Italy) and UCLondon (United Kingdom) organized five-day seminars on the topic of ‘Italian Literature of the Second Half of the Twentieth Century (194589): Reception and Imagination’.

By ‘reception’ we mean the set of processes and channels through which Italian culture (and particularly, literature) of the period being studied, was received, translated, disseminated, read, interpreted and also challenged in national and linguistic-cultural contexts outside of Italy. Reception, therefore, has been studied using the latest methodological approaches – from the history of reading to the new studies on publishing and translation – in European and extra-European contexts. Starting with a ‘material’ research on works that originated in Italy and circulated in the rest of the world, such an approach provides a critical insight into what Italian culture ended up representing outside of its national borders.  

By ‘imagination’ the research group intends a mental mechanism, which utilizes images and associations of images – textual and iconographic – to affirm the power of ‘poetic thought’, as conceived by the French philosopher Gaston Bachelard against the absolutism of rationality. The imagination is thus seen not as a ‘function’ but as a ‘space’ of exchange, of freedom and of tensions. This concept was successively adopted by Gilles Durand in his studies on ‘mythocriticism’, in which the imagination is affirmed as a dynamic force of ‘polarization of images’: a recomposition of reality that includes (with no hierarchical divisions) symbolic, mythical, oneiric, fantastical elements, etc. (with explicit reference also to psychoanalysis). In light of this interpretation, the role of the passeur is not limited to the traditional function of a simple mediator but should also be seen as the activity of the person intellectual, artist, scholar, novelist or poet who wanted to freely reconfigure an Italian cultural imagination through ‘lyrical thinking’. To give an example, our attention will be directed towards non-Italian writers who chose to set their narrations in a significantly reinvented Italy, reinterpreted as a reservoir of sensitive and poetic images or as a screen on which to project their own concerns.

The period of time chosen (194589) finds its justification in an assumption of methodological coherence that refers to the two historical ruptures of the century: the end of the Second World War, on one side, and the Fall of the Berlin Wall, on the other. Both events entail sociopolitical reorganizations at the European level, which were in turn marked by corresponding events more or less regarding the main technological, social and cultural changes, which, (starting in 1945 after the reconstruction phase), marked the beginning and the end of an exceptional period of socio-economic development. As for 1989, instead, it is noted that the Fall of the Berlin Wall imposed coincident and radical political changes with the end of a certain vision of Europe and the world. From that moment onwards, the digital culture began and proceeded to develop, such that, within a few decades, digital culture imposed itself on all intellectual and cultural players. The two dates therefore appear to be concurrently symbolic and representative of a clearly defined Italian culture of the second half of the twentieth century.

Conference macro-sections and locations in Buenos Aires

The conference, scheduled on 2628 August 2020, will take place in various venues of the Universidad de Buenos Aires.

The choice of the Argentine capital as the venue for the conference is not accidental, but is rather the result of extensive planning, which aspires to conclude the meetings on the Passeurs in one of the symbolic locations imbued with a widespread Italian spirit. Buenos Aires, a metropolis of 16 million inhabitants, is composed of a mixed social and cultural fabric, a high percentage of which holds Italian origins. The Universidad de Buenos Aires, on the other hand, boasts one of the best positions in international rankings and is always among the top five academic-learning centres in Latin America.

For these reasons, the three days of the conference will also include a guided visit of the city in search not of a ‘Little Italy’, but rather of a widespread Italian spirit present in many material and immaterial traces (buildings, domes, popular districts, coffee shops, signs, writings) of a ‘city-world’ that, international and cosmopolitan, jealously preserves its historical ties to Italy and Europe.

The conference, open to the whole scientific community related to it, is divided into two macro-sections: ‘Literature’ and ‘Cinema & Media’.

The languages of the conference are: Italian, Spanish and English.

Literature section

Passeurs. Italian Literature Beyond Italian Shores (1945–89). Reception and Imagination’

Scientific committee:

Marco Carmello (Universidad Complutense de Madrid, Spain)

Alejandro Patat (Università per Stranieri di Siena, Italy)

Brigitte Poitrenaud-Lamesi (Université de Caen Normandie, France)

Thea Rimini (Université de Bruxelles, Belgium)

Beatrice Sica (University College of London, UK)

Nora Sforza (Universidad de Buenos Aires, Argentina)

Roberto Ubbidiente (Universität Humboldt zu Berlin, Germany)

The questions posed, as well as those yet-to-be pondered,  revolve around the characteristics of the reception of literature and culture, focusing on the transmission methodologies and instruments (texts, publishing, series, anthologies, journals, projects, foundations, institutions), which either aided, selected or hindered the dissemination of Italian culture outside of Italy: furthermore, this section will consider the various figures of ‘passeurs’ – editors, intellectuals, writers, translations, journalists etc. – who had a central role in defining an Italian cultural imagination beyond the Alps.

The ‘Literature’ section, therefore, aims to engage with the issue of cultural mediation with the objective of creating a map of Italian culture during the second half of the twentieth century outside of Italy. The section will be divided by the scientific committee in panels based on themes, authors and issues.    

The proposed themes are:

  • The Passeurs as protagonists in both the reception and the imagination of Italian literature of the second half of the twentieth century outside of Italy.
  • Reception, dissemination and translation of a work by an author of the second half of the twentieth century outside Italy.
  • Anthologies of Italian literature of the second half of the twentieth century in other languages.
  • Monographic issues of magazines or magazines on the debates and texts of Italian literature of the second half of the twentieth century.
  • Critical texts on Italian literature of the period in question, written and published outside Italy.
  • Essays and fictional texts on Italy of the second half of the twentieth century, published in other literary systems that restore, reinvent or reinterpret contemporary Italy.

Please submit proposals (maximum 250 words) in Italian, Spanish or English, together with a biographical note (maximum 150 words) to the presidents of the selection committee ‘Literature’ section Prof. Alejandro Patat (patat@unistrasi.it) and Prof. Brigitte Poitrenaud (brigitte.poitrenaud@orange.fr) no later than 31 January 2020. The selection of the proposals will be made by the scientific committee on the basis of scientific quality and originality as well as the thematic relevance. The outcome of the selection process will be communicated by the first week of March 2020. Plans are in place for the publication of a selection of the papers in a single volume.

Cinema and Media section

‘Intersections Between Italian and Latin-American Cinema and Media: 194589’

Scienfitic committee:

Flavia Brizio-Skov (University of Tennessee, USA)

Milly Buonanno (Sapienza University of Rome, Italy)

Monica Jansen (Utrecht University, Netherlands)

Inge Lanslots (KU Leuven, Belgium)

Flavia Laviosa (Wellesley College, USA)

Mariano Mestman (Universidad de Buenos Aires, Argentina)

Cristina Perissinotto (University of Ottawa, Canada)

Antonio Traverso (Curtin University, Australia)

Maria Bonaria Urban (University of Amsterdam, Netherlands)

Within such a transnational framework, scholars are invited to engage in a methodological tension between studying national cinema and media and transnational critical approaches thus recovering these overlooked connections and re-composing them in a historic and aesthetic map, marked by cross-national dialogues and trans-generational exchanges in particular in the 194589 period of European and world history.

Topics include, but are not limited to:

  • Global neorealisms: dialogues between Latin-American and Italian cinemas.
  • The Centro Sperimentale di Cinema and Cinecittà: Latin American filmmakers and writers in Rome.
  • Links between Italian political cinema and Latin America.
  • Popular genres between the two continents: the western, the commedia all’italiana, the soap operas, the television show, the photo comic, cartoons.
  • Italian films belonging to the tradition of Meridionalism/melodrama, which see the participation of Latin American actors.
  • The reception of Italian cinema in Latin America and the reception of Latin American cinema in Italy.
  • ‘Traveling filmmakers’ in Latin America.
  • The cosmopolitanism of the Latin American film industry: filmmakers and actors of Italian origins.
  • Transnational stardom in cinema and television.
  • The use of stereotypes and exoticisms in the Italian and Latin American collective imaginations.
  • Audiovisual representations of Italian migration towards Latin America and of return migrations.
  • Transnational co-productions and the adaptation to the needs of the respective national markets of film and television productions.

Please submit proposals of 250 words (in Italian, English or Spanish) of original and unpublished papers together with a bio-note of about 150 words to Prof. Flavia Laviosa (flaviosa@wellesley.edu), president of the selection committee of the ‘Cinema and Media’ section by 31 January 2020. The selection criteria of the papers will be their scientific quality and their relevance to the themes of the section. The outcome of the selection process will be communicated by the first week of March 2020. Selected articles will be considered for publication in a special issue of the Journal of Italian Cinema & Media Studies.

Conference sites

The conference will be held at the Centro Italo-Argentino de Altos Estudios and Facultad de Filosofía y Letras dell’Universidad de Buenos Aires.

Registration

Registration will take place after acceptance of proposals following the review of the scientific committee. The registration fee is US$30 for Latin American speakers, and US$50 for speakers from the rest of the world. The payment method and deadline will be indicated in a subsequent communication.

Sponsors

Facultad de Filosofía y Letras – Universidad de Buenos Aires

Centro Italo-Argentino de Altos Estudios – Universidad de Buenos Aires 

Università per Stranieri di Siena

Ambasciata d’Italia in Argentina

Istituto Italiano di Cultura di Buenos Aires

Museo de la Inmigración de Buenos Aires (Universidad de Tres de Febrero)

 

Call for Papers

Convegno Internazionale

Passeurs La cultura italiana fuori d’Italia (194589): ricezione e immaginario

Letteratura – Cinema – Media

2628 August 2020

Universidad de Buenos Aires

 

Premessa: ricezione e immaginario

A partire dal 2018 un gruppo di italianisti provenienti da vari Atenei europei, tra cui Caen Normandie (Francia), Humboldt zu Berlin (Germania), Mons (Belgio), Complutense de Madrid (Spagna), Stranieri di (Italia), University College London (Regno Unito), ha organizzato una serie di giornate seminariali sul tema “La letteratura italiana del Secondo Novecento (194589): ricezione e immaginario”.

Per “ricezione” s’intende l’insieme di processi e di canali attraverso i quali la cultura italiana (e in particolare la letteratura) del periodo in esame è stata accolta, tradotta, diffusa, letta, interpretata e anche ostacolata in altri contesti nazionali e linguistico-culturali fuori d’Italia. La ricezione, dunque, è stata affrontata in ambiti europei ed extraeuropei in linea con gli approcci metodologici degli ultimi anni dalla storia della lettura ai nuovi studi sull’editoria e sulla traduzione . A partire da una ricerca “materiale” su ciò che della cultura italiana è stato filtrato nel resto del mondo, tale approccio consente di gettare uno sguardo critico su ciò che essa ha finito per rappresentare fuori dai confini nazionali. 

Per “immaginario” il gruppo di ricerca ha inteso un dispositivo mentale che procede per immagini e associazioni d’immagini testuali e iconografiche al fine di affermare la potenza del “pensiero poetico” così come concepito dal filosofo francese Gaston Bachelard contro l’assolutismo della razionalità. In tal senso, l’immaginario non si presenta come “funzione”, bensì come “spazio” di scambio, di libertà e di tensioni. Tale concetto è stato successivamente ripreso da Gilles Durand nei suoi studi sulla “mitocritica”, in cui l’immaginario si afferma come forza dinamica di “polarizzazione delle immagini”: una ricomposizione del reale che include elementi simbolici, mitici, onirici, fantasiosi ecc. (con riferimento esplicito anche alla psicoanalisi). In tale accezione, il ruolo del passeur non si limita alla funzione tradizionale di semplice “mediatore”, ma va anche considerato come l’attività di colui che intellettuale, artista, erudito, romanziere o poeta ha voluto riconfigurare liberamente un immaginario culturale italiano attraverso un “pensiero lirico”. Oggetti della nostra attenzione saranno anche le opere di scrittori non italiani che hanno scelto come sfondo delle loro narrazioni un’Italia significativamente reinventata e reinterpretata quale serbatoio d’immagini sensibili e poetiche ovvero schermo di proiezione delle proprie ossessioni.  

Il lasso di tempo prescelto (194589) trova la sua giustificazione in un assunto di coerenza metodologica che rinvia alle due rotture storiche del secolo: la fine della Seconda guerra mondiale, da una parte, e la caduta del muro di Berlino, dall’altra. Tali cesure hanno implicato ricomposizioni socio-politiche a livello europeo a loro volta contraddistinte da eventi corrispondenti più o meno ai principali cambiamenti tecnologici, sociali e culturali, che a partire dal 1945 (dopo la fase della ricostruzione) hanno segnato l’inizio e la fine di un eccezionale periodo di sviluppo economico-sociale. Per quanto riguarda, invece, il 1989, è noto che la caduta del Muro ha imposto cambiamenti politici radicali coincidenti con la fine di una certa visione dell’Europa e del mondo. Da quel momento in poi ha inizio e si sviluppa la cultura digitale, che nel giro di qualche decennio si è imposta a tutti gli attori intellettuali e culturali. Le due date risultano, pertanto, allo stesso tempo simboliche e significative di una cultura italiana del secondo Novecento ben delimitata.

Macrosezioni e sedi del Convegno a Buenos Aires

Il convegno, previsto per i giorni 2628 agosto 2020, si svolgerà presso diverse sedi dell’Universidad de Buenos Aires.

La scelta della capitale argentina come sede del Convegno non è casuale, ma, anzi, frutto di una pianificazione del lavoro che ha l’aspirazione di chiudere gli incontri sui Passeurs in uno dei luoghi-simbolo dell’italianità diffusa. Buenos Aires, metropoli di ben 16 milioni di abitanti, è composta da un tessuto sociale e culturale misto di cui un’altissima percentuale è di origine italiana. L’Universidad de Buenos Aires, d’altra parte, vanta una delle migliori posizioni nei ranking internazionali ed è sempre tra le prime cinque dell’America Latina.

Per queste ragioni le tre giornate del Convegno prevedono anche una visita guidata della città alla ricerca non certo di una “Piccola Italia”, bensì di una italianità capillare, visibile in tante tracce materiali e immateriali (edifici, cupole, quartieri popolari, caffè, insegne, scritte) di una “città-mondo” che, internazionale e cosmopolita, conserva gelosamente i suoi legami storici con l’Itaia e con l’Europa.

Il convegno, aperto a tutta la comunità scientifica affine alle sue tematiche, è articolato in due macrosezioni: Letteratura e Cinema & Media.

Le lingue di lavoro del Convegno sono l’italiano, lo spagnolo e l’inglese.

Sezione “Letteratura”

Passeurs La letteratura italiana fuori d’Italia (194589): ricezione e immaginario

Comitato scientifico

Marco Carmello (Universidad Complutense de Madrid, Spagna)

Alejandro Patat (Università per Stranieri di Siena, Italia)

Brigitte Poitrenaud-Lamesi (Université de Caen Normandie, Francia)

Thea Rimini (Université de Bruxelles, Belgio)

Beatrice Sica (University College of London, Regno Unito)

Nora Sforza (Universidad de Buenos Aires, Argentina)

Roberto Ubbidiente (Humboldt-Universität zu Berlin, Germania)

Gli interrogativi posti e ancora da porre vertono sulle caratteristiche della ricezione della letteratura e della cultura italiane, puntando sui mezzi e sugli strumenti di trasmissione (testi, editoria, collane, antologie, riviste, progetti, fondazioni, istituzioni), che abbiano favorito, selezionato o impedito la diffusione della cultura italiana fuori d’Italia; si tratterà inoltre di prendere in esame le diverse figure di “passeurs” editori, intellettuali, scrittori, traduttori, giornalisti ecc. che abbiano avuto un ruolo centrale nel delineare un immaginario culturale italiano al di là delle Alpi.

La macrosezione “Letteratura” si propone, dunque, di affrontare la questione della mediazione culturale allo scopo di costruire una mappa della cultura italiana del secondo Novecento fuori d’Italia. La sezione verrà divisa dal comitato scientifico in panels per affinità di temi, autori e problematiche.

I temi proposti sono:

  • I Passeurs come protagonisti della ricezione e dell’immaginario della letteratura italiana del Secondo Novecento fuori d’Italia.
  • Ricezione, diffusione, traduzione di un’opera, di un autore del Secondo Novecento fuori d’Italia.
  • Antologie della letteratura italiana del Secondo Novecento in altre lingue.
  • Numeri monografici di riviste o riviste sui dibattiti e sui testi della letteratura italiana del Secondo Novecento.
  • Testi di critica sulla letteratura italiana del periodo in esame scritti e pubblicati fuori d’Italia.
  • Saggi e testi di finzione sull’Italia del Secondo Novecento pubblicati in altri sistemi letterari che restituiscano, reinventino o reinterpretino l’Italia contemporanea.

Si prega di inviare proposte di relazioni (max 250 parole), in italiano, spagnolo o inglese, unitamente ad una nota biografica (max 150 parole) ai Presidenti del comitato di selezione sezione “Letteratura” Prof. Alejandro Patat (patat@unistrasi.it) e Prof.ssa Brigitte Poitrenaud (bpl.senese@orange.fr) entro e non oltre il 31 gennaio 2020. La selezione delle proposte sarà effettuata dal Comitato scientifico sulla base della qualità e originalità scientifica nonché della pertinenza tematica. L’esito sarà comunicato entro la prima settima di marzo 2020. È prevista la pubblicazione di una selezione di contributi in un singolo volume.

Sezione “Cinema e Media”

Intersezioni tra il Cinema e i Media Italiani e Latino-Americani: 194589

Comitato scientifico

Flavia Brizio-Skov (University of Tennessee, Stati Uniti)

Milly Buonanno (Sapienza Università di Roma, Italia)

Monica Jansen (Utrecht University, Olanda)

Inge Lanslots (KU Leuven, Belgio)

Flavia Laviosa (Wellesley College, Stati Uniti)

Mariano Mestman (Universidad de Buenos Aires, Argentina)

Cristina Perissinotto (University of Ottawa, Canada)

Antonio Traverso (Curtin University, Australia)

Maria Bonaria Urban (University of Amsterdam, Olanda)

Il cinema e i media italiani sono translazionali e transnazionali. Sono stati importati ed esportati, trasferiti, tradotti, adattati, adottati e re-interpretati. Il fascino delle leggende del cinema italiano e l’interesse a rivisitarne la genealogia creano ponti tra linguaggi artistici globali. Con l’intento di ripercorrere la Storia del Cinema e dei Media italiani, con questo CFP ci proponiamo di seguire le tracce della loro polisemia internazionale e del loro policentrismo culturale, di definire la portata delle ispirazioni che suscitano e di esaminare le innovazioni artistiche di altri cinema che siano il risultato della loro osmosi con la tradizione cinematografica italiana. Il cinema e i media italiani si sono orientati in diverse direzioni costantemente intersecandosi con altri cinema e media in particolare con l’America Latina.

All’interno di questo panorama, gli studiosi interessati sono invitati ad impegnarsi in una tensione metodologica tra gli studi del cinema e media nazionali e approcci critici transnazionali in modo da riscoprire le connessioni inesplorate e ricomporle in un quadro storico ed estetico segnato da dialoghi inter-nazionali e scambi trans-generazionali in particolare nel periodo che va dal 1945 al 1989 della storia europea e mondiale.

I temi proposti includono, ma non si limitato ai seguenti:

  • Neorealismi globali: dialoghi tra cinema latino-americano e cinema italiano.
  • Il Centro Sperimentale di Cinema e Cinecittà: registi e scrittori latino-americani a Roma.
  • Rapporti tra il cinema politico italiano e l’America Latina.
  • Generi popolari tra i due continenti: il western, la commedia all’italiana, le telenovelas, lo spettacolo televisivo, il fotoromanzo, i cartoni animati.
  • Film italiani che rientrano nel filone del meridionalismo/melodramma a cui collaborano attori latino-americani.
  • La ricezione del cinema italiano in America Latina e la ricezione del cinema latino americano in Italia.
  • “Traveling filmmakers” in America Latina.
  • Il cosmopolitismo dell’industria cinematografica latino-americana: registi e attori di origini italiane.
  • Stardom transnazionale tra cinema e televisione.
  • L’uso di stereotipi ed esotismi negli immaginari italiani e latino-americani.
  • Rappresentazioni audiovisive delle migrazioni spagnole e italiane in America Latina e delle migrazioni di ritorno.
  • Coproduzioni transnazionali e l’adattamento di produzioni cinematografiche e televisive alle esigenze dei rispettivi mercati nazionali.

Si prega di inviare proposte di relazioni di 250 parole (in italiano, spagnolo o in inglese) di saggi originali ed inediti insieme ad una nota biografica di circa 150 parole a Prof. Flavia Laviosa (flaviosa@wellesley.edu), Presidente del comitato di selezione per la sezione Cinema e Media, entro il 31 gennaio 2020. La selezione delle proposte si effettuerà in base alla qualità scientifica e alla pertinenza rispetto ai temi della sezione. L’esito sarà comunicato entro la prima settima di marzo 2020. È prevista la pubblicazione di una selezione degli articoli presentati al convegno in un numero speciale del Journal of Italian Cinema & Media Studies.

Iscrizione

L’iscrizione avverrà successivamente all’accettazione del contributo da parte del Comitato Scientifico. La quota d’iscrizione è di $30 statunitensi per i relatori latino americani è di $50 statunitensi per i relatori provenienti dal resto del mondo. Le modalità di pagamento e la scadenza del pagamento verranno indicate in una comunicazione successiva.

Sedi del convegno

Le sedi scientifiche saranno il Centro Italo-Argentino de Altos Estudios e la Facultad de Filosofía y Letras dell’Universidad de Buenos Aires.

Patrocinio

Facultad de Filosofía y Letras - Universidad de Buenos Aires

Centro Italo-Argentino de Altos Estudios – Universidad de Buenos Aires 

Università per Stranieri di Siena

Ambasciata d’Italia in Argentina

Istituto Italiano di Cultura di Buenos Aires

Museo de la Inmigración de Buenos Aires (Universidad de Tres de Febrero)

 

General Call for Papers

Please download and read the full Journal of Italian Cinema & Media Studies (JICMS) Notes for Contributors before submitting to the journal.

JICMS is an English-language forum for theoretical, methodological and critical debate on Italian film and media production, reception and consumption. It provides a platform for dialogue between academics, filmmakers and cinema and media professionals. This peer-reviewed journal invites submissions of scholarly articles relating to the artistic features, cultural themes, international influence and history of Italian film and media. Furthermore, the journal intends to revive a critical discussion on the auteurs, revisit the historiography of Italian cinema and celebrate the dynamic role played by new directors. The journal includes a book and film review section as well as notes on Italian film festivals abroad and international conference reports.

The profound transformation undergone by the rapidly expanding media environment under the impact of digital technology has lead scholars in the field of media studies to elaborate new theoretical paradigms and methodological approaches to account for the complexities of a changing landscape of convergence and hybridization. The boundaries between cinema and media as art forms and fields of inquiry are increasingly hybridized too. Taking into account this evolving scenario, JICMS provides an international arena for critical engagement with a wider range of issues related to the current media environment. The journal welcomes in particular contributions that discuss any aspect of Italian media production, distribution and consumption within national and transnational, social, political, economic and historical contexts.

Within the realm of a post-national and trans-cultural debate, the purpose of JICMS is to refer to Italy as the unifying site for a contemporary discussion on translocal cinema. The journal aims to elaborate a multifaceted definition of Italian cinema, transcending geo-ethnic land and sea borders and moving away from merely celebratory local cinematic experiences. Therefore, the journal also devotes attention to Italophone filmmakers and diasporic, accented or exilic cinema. JICMS is also interested in the artistic intersections between Italian and other international cinemas.

JICMS also invites submissions that examine experimental cinema, video art, short films, long/short feature and documentary animation, original and adapted screenplays, film music (songs and scores), issues of stardom and reception studies. The professional contributions of screenplay writers, art directors, cinematographers, film editors, costume designers and make-up artists are also potential subject areas for submissions.

Interested contributors should send: (1) a 500-word abstract outlining the topic, approach and theoretical bases; (2) the relevant bibliography and filmography and (3) 200-word biographical notes (listing academic publications) to the editor.


Journal contributors will receive a free PDF copy of their final work upon publication. Print copies of the journal may also be purchased by contributors at half price.

Principal Editor

Flavia Laviosa
Wellesley College, USA
flaviosa@wellesley.edu

Associate Editors

Milly Buonanno
La Sapienza Università di Roma, Italy
mbuonanno.it@gmail.com

Stephen Gundle
University of Warwick, UK
S.Gundle@warwick.ac.uk

Giorgio Bertellini
University of Michigan, USA
giorgiob@umich.edu

Reviews Editor

Ellen Nerenberg
Wesleyan University, USA
enerenberg@wesleyan.edu

Editorial Assistants

Glen Bonnici
University of Malta, Malta

Megan D'Alessandro
Wellesley College, USA

Melissa Loza
Wellesley College, USA

Rory McKenzie
Victoria University of Wellington, New Zealand
rory.mckenzie@vuw.ac.nz

Editorial Board

Sarah Annunziato
The University of Virginia, USA

Stefano Bona
University of South Australia, Australia

Flavia Brizio-Skov
University of Tennessee, USA

Clodagh Brook
Trinity College Dublin, University of Dublin, Ireland

Frank Burke
Queen’s University, Canada

Marco Benoît Carbone
University College London, UK

Francesco Fiumara
Southeastern Louisiana University, USA

Danielle Hipkins
University of Exeter, UK

Monica Jansen
Utrecht University, Netherlands

Bernadette Luciano
University of Auckland, New Zealand

Alex Marlow-Mann
University of Kent, UK

Gaetana Marrone-Puglia
Princeton University, USA

Mary Ann McDonald Carolan
Fairfield University, USA

Áine O'Healy
Loyola Marymount University, USA

Alan O'Leary
University of Leeds, UK

Laura Rascaroli
University College Cork, Ireland

John David Rhodes
University of Cambridge, UK

Paolo Russo
Oxford Brookes University, UK

Grace Russo Bullaro
City University of New York, Lehman College, USA

Susanna Scarparo
The University of Sydney, Australia

Roberta Tabanelli
University of Missouri, USA

Maria Bonaria Urban
University of Amsterdam, Netherlands

Marguerite Waller
University of California, Riverside, USA

Gaoheng Zhang
University of British Columbia, Canada

Advisory Board

Marcia Landy
University of Pittsburgh, USA

Geoffrey Nowell-Smith
Queen Mary University of London, UK

Principal Editor

Flavia Laviosa
Wellesley College, USA
flaviosa@wellesley.edu

Associate Editors

Milly Buonanno
La Sapienza Università di Roma, Italy
mbuonanno.it@gmail.com

Stephen Gundle
University of Warwick, UK
S.Gundle@warwick.ac.uk

Giorgio Bertellini
University of Michigan, USA
giorgiob@umich.edu

Reviews Editor

Ellen Nerenberg
Wesleyan University, USA
enerenberg@wesleyan.edu

Editorial Assistants

Glen Bonnici
University of Malta, Malta

Megan D'Alessandro
Wellesley College, USA

Melissa Loza
Wellesley College, USA

Rory McKenzie
Victoria University of Wellington, New Zealand
rory.mckenzie@vuw.ac.nz

 
ANVUR class A
 
Emerging Sources Citation Index
 
ERIH PLUS
 
FIAF (International Federation of Film Archives)
 
Film and Television Literature Index
 
Film and Television Literature Index (with FT)
 
International Index to Film Periodicals
 
MLA
 
Scopus
 
Ulrich’s

Contents

  • Volume (7): Issue (1)
  • Cover date: 2019


Contents

  • Volume (7): Issue (2)
  • Cover date: 2019


Contents

  • Volume (7): Issue (3)
  • Cover date: 2019


Contents

  • Volume (6): Issue (1)
  • Cover date: 2018


Contents

  • Volume (6): Issue (2)
  • Cover date: 2018


Contents

  • Volume (6): Issue (3)
  • Cover date: 2018


Contents

  • Volume (5): Issue (1)
  • Cover date: 2017


Contents

  • Volume (5): Issue (2)
  • Cover date: 2017


Contents

  • Volume (5): Issue (3)
  • Cover date: 2017


Contents

  • Volume (4): Issue (1)
  • Cover date: 2016


Contents

  • Volume (4): Issue (2)
  • Cover date: 2016


Contents

  • Volume (4): Issue (3)
  • Cover date: 2016


Contents

  • Volume (3): Issue (1&2)
  • Cover date: 2015


Contents

  • Volume (3): Issue (3)
  • Cover date: 2015


Contents

  • Volume (2): Issue (1)
  • Cover date: 2014


Contents

  • Volume (2): Issue (2)
  • Cover date: 2014


Contents

  • Volume (2): Issue (3)
  • Cover date: 2014


Contents

  • Volume (1): Issue (1)
  • Cover date: 2012


Contents

  • Volume (1): Issue (2)
  • Cover date: 2012


Contents

  • Volume (1): Issue (3)
  • Cover date: 2012


Principal Editor

Flavia Laviosa
Wellesley College, USA
flaviosa@wellesley.edu

Associate Editors

Milly Buonanno
La Sapienza Università di Roma, Italy
mbuonanno.it@gmail.com

Stephen Gundle
University of Warwick, UK
S.Gundle@warwick.ac.uk

Giorgio Bertellini
University of Michigan, USA
giorgiob@umich.edu

Reviews Editor

Ellen Nerenberg
Wesleyan University, USA
enerenberg@wesleyan.edu

Editorial Assistants

Glen Bonnici
University of Malta, Malta

Megan D'Alessandro
Wellesley College, USA

Melissa Loza
Wellesley College, USA

Rory McKenzie
Victoria University of Wellington, New Zealand
rory.mckenzie@vuw.ac.nz

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