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.



Principal Editor

Flavia Laviosa
Wellesley College
flaviosa@wellesley.edu

Associate Editors

Milly Buonanno
La Sapienza University of Rome

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

Giorgio Bertellini
University of Michigan
giorgiob@umich.edu

Reviews Editor

Ellen Nerenberg
Wesleyan University
enerenberg@wesleyan.edu

Editorial Assistant

Beatrice Basile
University of Bologna

Cassie Miller
Wellesley College

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
flaviosa@wellesley.edu

Associate Editors

Milly Buonanno
La Sapienza University of Rome

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

Giorgio Bertellini
University of Michigan
giorgiob@umich.edu

Reviews Editor

Ellen Nerenberg
Wesleyan University
enerenberg@wesleyan.edu

Editorial Assistant

Beatrice Basile
University of Bologna

Cassie Miller
Wellesley College

Principal Editor

Flavia Laviosa
Wellesley College
flaviosa@wellesley.edu

Associate Editors

Milly Buonanno
La Sapienza University of Rome

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

Giorgio Bertellini
University of Michigan
giorgiob@umich.edu

Reviews Editor

Ellen Nerenberg
Wesleyan University
enerenberg@wesleyan.edu

Editorial Assistant

Beatrice Basile
University of Bologna

Cassie Miller
Wellesley College

Principal Editor

Flavia Laviosa
Wellesley College
flaviosa@wellesley.edu

Associate Editors

Milly Buonanno
La Sapienza University of Rome

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

Giorgio Bertellini
University of Michigan
giorgiob@umich.edu

Reviews Editor

Ellen Nerenberg
Wesleyan University
enerenberg@wesleyan.edu

Editorial Assistant

Beatrice Basile
University of Bologna

Cassie Miller
Wellesley College

Download the Notes for Contributors here:

Notes for Contributors Download

Call for Papers: Federico Fellini Download


Call for Papers

Special Issue of the Journal of Italian Cinema & Media Studies

‘With Hat and Red Scarf: The Building of Federico Fellini’s Public Image’

Guest-edited by Clizia Centorrino, Marco Dalla Gassa and Andrea Minuz

                                              

The centenary of the birth of director Federico Fellini in 2020 invites a unique opportunity to reassess his contribution to the history of Italian culture from new perspectives.

With his monumental film production, which has been extensively studied – at least from La dolce vita forward – the Riminese director gradually seeped into Italy’s daily life. While his films have sparked lively debates since he first became popular in the 1950s, less attention has been devoted to the process that has led many scholars to consider him the emblematic figure of the film artist, both as a major character in the cultural history of Italy and as the symbol of what is quintessentially ‘Italian’. 

Unlike other Italian directors, Fellini became a newsworthy and publicized figure beginning in the 1960s. He contributed to the creation of an ‘elusive’ image of himself (Hodsdon 2017), both through the construction of several cinematic alter-egos and through unmistakable appearances with his hat and red scarf in documentaries, feature films, illustrated news magazines, press and TV reports and other forms of media. Equally, he emerged as a staunch defender of certain political and cultural struggles, such as those against television commercials or against Berlusconi (who was still an editor at that time). Additionally, he became an object of scrutiny and discussion for journalists, critics, cinephiles, colleagues and biographers searching for an openly hagiographical definition of the threshold of the Italian artistic tradition.

Earlier theoretical contributions have thoroughly assessed the concept of ‘author’. Had Mikhail Bakhtin studied Fellini as an aesthetic and narrative object, he might have introduced him as a case study in Author and Hero in Aesthetic Activity (1920–23) to highlight the reciprocal nature between his creative acts and his activism on the public scene. Michel Foucault, on the other hand, would have praised the discursive feature ‘characterized by […] plurality of egos’ (Foucault 1969). Roland Barthes, for his linguistic sensibility, might have asked how Fellini influenced even common vocabulary such as the transformation of his name into an adjective as well as other words such as ‘dolcevita’, ‘amarcord’ and ‘vitelloni’ (1967–68). 

However, from our point of view, it becomes essential to consider Fellini from a social and historical angle, calling upon cultural and social disciplines to furnish new analytical perspectives – measuring the impact of his personality on today’s and yesterday’s Italy, and on the Italian identity abroad. For example, Fellini was keen on creating a public image of himself both as a ‘magician’ and as a country bumpkin, playing with a combination of two Italian stereotypes: the creative artist (the ‘maestro’) and, by a sort of ‘reverse patriotism’, a heap of irredeemable flaws (Patriarca 2010). In short, the creation of his reputation is a crucial case study of how an ‘artist’ is socially constructed and of the cultural forces that influence his public image (Kapsis 1992).  

This angle unlocks promising and abundant research possibilities: the idea of masculinity offered by Fellini’s voice and body (his acousmatic force, as Chion [1999] would say, is flagrant); the fashion in which his cumbersome presence has transformed urban spaces, such as Rimini, a film library dedicated to him, the Cinecittà theme park, Rome and the EUR district. Moreover, contributions to this special issue can discuss the exoteric vein in Fellini’s life experiences as often illustrated in magazines and news outlets; the numerous parodies of which he is the unconscious victim; the proliferation of commercial activity using the names of his films (here, too, a re-semanticized lexicon); and the way in which his wife, and his collaborators, friends and colleagues evoke him in biographies, interviews and public statements (Giulietta Masina, Marcello Mastroianni, Vincenzo Mollica, Tullio Kezich, Milo Manara).

Overall, the broad and innovative perspective described in this call for papers pursues the goal of rediscovering the aspects that contributed to Fellini’s mythification and integration into the sphere of Italian public speech. If we can believe Morin when he says Fellini ‘is more than an actor incarnating characters, [since] he incarnates himself in them, and they become incarnate in him’ (Morin 1961), is it then possible to study Fellini as a character/divo in the film of social history and Italian culture in the last half century? If the articles composing this single issue confirm that proposition, may one consider Fellinian heritage as the ability to inhabit social spaces, the ability to be inscribed in the (Italian) public sphere but in flesh, bones, and other phantasmal forms? 

Possible topics include, but are not limited to:

  1. Fellini as an actor (in his films, in others’ films and in documentaries);
  2. The embodiment of Fellini: voice and body of the ‘maestro’ on the radio, in his films and the question of dubbing his voice;
  3. The mediatized Fellini on television, the radio, and in magazines: for example, the relation between Fellini and reporter Mollica in RAI programs; Fellini in feminist magazines; Fellini in daily newspapers in Italy and abroad; the ceremony at Cinecittà following Fellini’s death and its representation; and Fellini in contemporary art;
  4. Fellini recounted and invented (by his wife Giulietta Masina, his collaborators and actors);
  5. Fellini and public spaces: transformations in Rimini and Cinecittà, ‘Fellinian’ commercial activities in the world and cinema tourism;
  6. Fellini’s image abroad: the mythification of the director from a particular perspective (be it American, European);
  7. The illustrated Fellini: comics, graphic novels;
  8. The photographed Fellini: themes, motifs, poses; the construction of a visual semiotic through famous photographs, in magazines devoted to him;
  9. The Fellinian lexicon and its re-semantization: ‘Fellinian’ as an adjective.

                    

The deadline for the submission of abstracts is 15 April 2019. 

Interested contributors should send:

  • 500 word abstracts outlining the topic, approach and theoretical bases
  • relevant bibliography and filmography
  • 200 word biographical notes (including academic publications)

 to the three guest editors:

Clizia Centorrino, Université Grenoble Alpes

Marco Dalla Gassa, Ca’ Foscari University of Venice

Andrea Minuz, Sapienza University of Rome

at the following addresses:

clizia.centorrino@univ-grenoble-alpes.fr

dallagas@unive.it 

andrea.minuz@uniroma1.it

The accepted proposals will be notified by 30 April 2019; completed articles should be sent by 31 July 2019 for peer-review; authors will be notified of the results of the peer-review by 15 October 2019.

 

References

Bakhtin, Mikhail Mikhailovich (1990), ‘Author and hero in aesthetic activity’, in M. M. Bakhtin, Art and Answerability (ed. M. Holquist and V.V. Liapunov), Austin: Texas University Press.

Barthes, Roland (1967), ‘The death of the author’, Aspen Magazine, 5/6, n.pag.

Bondanella, Peter (2002), The Films of Federico Fellini, Cambridge and New York: Cambridge University Press.

Burke, Frank and Waller, Marguerite R. (eds) (2002), Federico Fellini: Contemporary Perspectives, Toronto: University of Toronto Press.

Burke, Frank, Waller, Marguerite and Gubareva, Marita (eds) (forthcoming 2019), Wiley Blackwell Companion to Federico Fellini, Wiley-Blackwell.

Chion, Michel (1999), The Voice in Cinema, New York: Columbia University Press.

Dyer, Richard (1979), Stars, London: British Film Institute.

Fellini, Federico (2015), Making a Film, New York: Contra Mundum Press.

Foucault, Michel (1998), ‘What is an author?’ in D. Preziosi (ed.), The Art of Art History: A Critical Anthology, Oxford University Press, pp. 299–314.

Hodsdon, Barrett (2017), The Elusive Auteur: The Question of Film Authorship Throughout the Age of Cinema, Jefferson, NC: McFarland & Company, Inc., Publishers.

Kapsis, Robert E. (1992), Hitchcock: The Making of a Reputation, Chicago: University of Chicago Press.

Marcus, Millicent (2002), After Fellini: National Cinema in the Postmodern Age, JHU Press.

Morin, Edgar (1961), The Stars: An Account of the Star-System in Motion Pictures, New York: Grove Press.

Patriarca, Silvana (2010), Italian Vices: Nation and Character from the Risorgimento to the Republic, Cambridge: Cambridge University Press.

Stubbs, John C. (2015), Federico Fellini as Auteur: Seven Aspects of His Films, Carbondale: Southern Illinois University Press.

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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
flaviosa@wellesley.edu

Associate Editors

Milly Buonanno
La Sapienza University of Rome

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

Giorgio Bertellini
University of Michigan
giorgiob@umich.edu

Reviews Editor

Ellen Nerenberg
Wesleyan University
enerenberg@wesleyan.edu

Editorial Assistant

Beatrice Basile
University of Bologna

Cassie Miller
Wellesley College

Editorial Board

Sarah Annunziato
The University of Virginia

Stefano Bona
Flinders University

Flavia Brizio-Skov
University of Tennessee, Knoxville

Clodagh Brook
Trinity College Dublin, University of Dublin

Marco Benoît Carbone
University College London

Francesco Fiumara
Southeastern Louisiana University

Danielle Hipkins
University of Exeter

Monica Jansen
Utrecht University

Bernadette Luciano
University of Auckland

Gaetana Marrone-Puglia
Princeton University

Alex Marlow-Mann
University of Kent

Mary Ann McDonald Carolan
Fairfield University

Áine O'Healy
Loyola Marymount University

Alan O'Leary
University of Leeds

Laura Rascaroli
University College Cork

John David Rhodes
University of Cambridge

Paolo Russo
Oxford Brookes University

Roberta Tabanelli
The University of Missouri-Columbia

Carlo Testa
University of British Columbia

Marguerite Waller
University of California, Riverside

Gaoheng Zhang
University of British Columbia

Grace Russo Bullaro
City University of New York-Lehman College

Susanna Scarparo
The Australian National University

Advisory Board

Marcia Landy
University of Pittsburgh

Geoffrey Nowell
Queen Mary University of London

Principal Editor

Flavia Laviosa
Wellesley College
flaviosa@wellesley.edu

Associate Editors

Milly Buonanno
La Sapienza University of Rome

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

Giorgio Bertellini
University of Michigan
giorgiob@umich.edu

Reviews Editor

Ellen Nerenberg
Wesleyan University
enerenberg@wesleyan.edu

Editorial Assistant

Beatrice Basile
University of Bologna

Cassie Miller
Wellesley College

 
ANVUR class A
 
Emerging Sources Citation Index
 
ERIH
 
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
flaviosa@wellesley.edu

Associate Editors

Milly Buonanno
La Sapienza University of Rome

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

Giorgio Bertellini
University of Michigan
giorgiob@umich.edu

Reviews Editor

Ellen Nerenberg
Wesleyan University
enerenberg@wesleyan.edu

Editorial Assistant

Beatrice Basile
University of Bologna

Cassie Miller
Wellesley College

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