Pub Date : 2021-05-04DOI: 10.1080/02614340.2021.1950440
F. Pitassio
ABSTRACT The article briefly outlines the properties of Italian quality film (and partly media) celebrity, as compared to the Hollywood template. Italian quality film celebrity is rooted in a different mode of production, which relies less on market performance and much more on a set of mediators, bestowing quality on a limited number of performers. This mode of production consequently underlines characteristics other than the private lives and personality privileged in discourse across the Atlantic, and relieves actors and actresses of the burden of self-promotion. Accordingly, their presence within the social media arena is reduced, associated with few of them working across different media, and with their being mostly elusive.
{"title":"Elusive Selves: Italian Performers, Awards, Alleged Celebrity, and Self-Branding","authors":"F. Pitassio","doi":"10.1080/02614340.2021.1950440","DOIUrl":"https://doi.org/10.1080/02614340.2021.1950440","url":null,"abstract":"ABSTRACT The article briefly outlines the properties of Italian quality film (and partly media) celebrity, as compared to the Hollywood template. Italian quality film celebrity is rooted in a different mode of production, which relies less on market performance and much more on a set of mediators, bestowing quality on a limited number of performers. This mode of production consequently underlines characteristics other than the private lives and personality privileged in discourse across the Atlantic, and relieves actors and actresses of the burden of self-promotion. Accordingly, their presence within the social media arena is reduced, associated with few of them working across different media, and with their being mostly elusive.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47630889","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/02614340.2021.1922794
S. Anatrone, Julia Heim
{"title":"It Is Messy. And It Is Mediated.","authors":"S. Anatrone, Julia Heim","doi":"10.1080/02614340.2021.1922794","DOIUrl":"https://doi.org/10.1080/02614340.2021.1922794","url":null,"abstract":"","PeriodicalId":42720,"journal":{"name":"Italianist","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43469455","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/02614340.2021.1954364
Fred Kudjo Kuwornu, Amanda Minervini
In February and March 2020, Dr Amanda Minervini of Colorado College and Fred Kudjo Kuwornu taught for the first time in the United States a course dedicated entirely to Black Italian youth and media: ‘Black Italian Cinema and Digital Performance’. We created ‘Black Italian Cinema and Digital Performance’ as an introduction to issues of culture, race, identity, and citizenship in contemporary Italy, drawing from documentary, film, and the new arena of social media. An entire generation of Black Italians, in particular artists, entrepreneurs, and bloggers (especially Millennials), have been affirming themselves in Italian culture and society, gaining progressively more visibility starting in the 1990s, and thus entering the spotlight of the Global Black Diaspora. When teaching this course, we asked questions such as: What themes/issues/topics are most discussed among Black Italians? Which art forms do they cite and refer to? In what ways and through which channels do Black Italians engage with the Global Black Diaspora? How is this generation seeking to be included in the history and socio-economic system of a country that still refuses citizenship to children born on Italian soil? What kind of cultural and artistic production has been emerging from ‘the new Italians’? We included Fred’s documentaries (the screenings were open to the general public), as well as works of emerging artists such as the writer Antonio Dikele Distefano, the rapper Ghali, and web-based projects such as ‘Afroitalian Souls’. Thanks to Fred’s connections, we were able to have a few Skype guests, such as Dr Camilla Hawthorne of the Department of Sociology at the University of California Santa Cruz; Laila Petrone, an Italian-Dominican filmmaker based in Los Angeles; Bellamy Okot, founder and editor-in-chief of the community blog Afroitalian Souls; and Dagmawi Yimer, an Ethiopian-born Italian filmmaker. We conceived ‘Black Italian Cinema and Digital Performance’ as an innovative course for departments of Italian studies and film studies alike, first of all because we could not find elsewhere any courses entirely dedicated to Black Italian experience, in particular dedicated to the generation of young Black people born and raised in Italy. We also felt that the artwork by Black Italians, and the social issues they identify, represent, and criticise, needed more visibility. The new generation of Black Italians has been creating an incredibly rich, mostly still (academically) uncharted world. Dr Amanda Minervini has always taught courses that invite reflections on themes related to diversity, and she had been wanting to teach with Fred since the first time she had invited him to give a talk on the Colorado College campus, in 2017. From that moment
{"title":"Co-Teaching Black Italian Cinema","authors":"Fred Kudjo Kuwornu, Amanda Minervini","doi":"10.1080/02614340.2021.1954364","DOIUrl":"https://doi.org/10.1080/02614340.2021.1954364","url":null,"abstract":"In February and March 2020, Dr Amanda Minervini of Colorado College and Fred Kudjo Kuwornu taught for the first time in the United States a course dedicated entirely to Black Italian youth and media: ‘Black Italian Cinema and Digital Performance’. We created ‘Black Italian Cinema and Digital Performance’ as an introduction to issues of culture, race, identity, and citizenship in contemporary Italy, drawing from documentary, film, and the new arena of social media. An entire generation of Black Italians, in particular artists, entrepreneurs, and bloggers (especially Millennials), have been affirming themselves in Italian culture and society, gaining progressively more visibility starting in the 1990s, and thus entering the spotlight of the Global Black Diaspora. When teaching this course, we asked questions such as: What themes/issues/topics are most discussed among Black Italians? Which art forms do they cite and refer to? In what ways and through which channels do Black Italians engage with the Global Black Diaspora? How is this generation seeking to be included in the history and socio-economic system of a country that still refuses citizenship to children born on Italian soil? What kind of cultural and artistic production has been emerging from ‘the new Italians’? We included Fred’s documentaries (the screenings were open to the general public), as well as works of emerging artists such as the writer Antonio Dikele Distefano, the rapper Ghali, and web-based projects such as ‘Afroitalian Souls’. Thanks to Fred’s connections, we were able to have a few Skype guests, such as Dr Camilla Hawthorne of the Department of Sociology at the University of California Santa Cruz; Laila Petrone, an Italian-Dominican filmmaker based in Los Angeles; Bellamy Okot, founder and editor-in-chief of the community blog Afroitalian Souls; and Dagmawi Yimer, an Ethiopian-born Italian filmmaker. We conceived ‘Black Italian Cinema and Digital Performance’ as an innovative course for departments of Italian studies and film studies alike, first of all because we could not find elsewhere any courses entirely dedicated to Black Italian experience, in particular dedicated to the generation of young Black people born and raised in Italy. We also felt that the artwork by Black Italians, and the social issues they identify, represent, and criticise, needed more visibility. The new generation of Black Italians has been creating an incredibly rich, mostly still (academically) uncharted world. Dr Amanda Minervini has always taught courses that invite reflections on themes related to diversity, and she had been wanting to teach with Fred since the first time she had invited him to give a talk on the Colorado College campus, in 2017. From that moment","PeriodicalId":42720,"journal":{"name":"Italianist","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41948427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/02614340.2021.1950433
P. McDonald
ABSTRACT In what ways does acting represent a form of work? From one perspective, the work of acting is taken to mean exercising artistic and creative craft: the techniques, actions, and procedures involved with portraying a character. Yet acting also means employment, the state of being ‘in work’ for pay. Once we begin to think about acting as a job, however, we must acknowledge how endemic job insecurity routinely sees actors regularly experiencing unemployment, and so working to get work. A holistic account of acting-as-work must therefore appreciate the distinctive characteristics of doing acting work while also recognizing how cultural industries shape conditions for having that work, creating consequent demands on getting work. By presenting this tripartite model, this article proposes a few pointers towards thinking about acting as creative labour.
{"title":"Doing, Having, and Getting Work: Acting as Creative Labour","authors":"P. McDonald","doi":"10.1080/02614340.2021.1950433","DOIUrl":"https://doi.org/10.1080/02614340.2021.1950433","url":null,"abstract":"ABSTRACT In what ways does acting represent a form of work? From one perspective, the work of acting is taken to mean exercising artistic and creative craft: the techniques, actions, and procedures involved with portraying a character. Yet acting also means employment, the state of being ‘in work’ for pay. Once we begin to think about acting as a job, however, we must acknowledge how endemic job insecurity routinely sees actors regularly experiencing unemployment, and so working to get work. A holistic account of acting-as-work must therefore appreciate the distinctive characteristics of doing acting work while also recognizing how cultural industries shape conditions for having that work, creating consequent demands on getting work. By presenting this tripartite model, this article proposes a few pointers towards thinking about acting as creative labour.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46244895","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/02614340.2021.1950439
Catherine O’Rawe
ABSTRACT This short piece reflects upon a particular kind of social media use during Italy’s lockdown from March to June 2020: it addresses the use of Instagram Live as a medium for stars like Alessandro Borghi to intervene in debates, and to construct a dialogue with fans and experts during an unprecedented period of national crisis. The piece considers how Instagram Live can be studied as a media platform that is now important for the construction of the online celebrity identity, and which offers a particular effect of intimacy and access to celebrity, but which presents specific methodological and interpretative challenges.
{"title":"Intimacy/Activism: Italian Actors and Social Media in the Lockdown","authors":"Catherine O’Rawe","doi":"10.1080/02614340.2021.1950439","DOIUrl":"https://doi.org/10.1080/02614340.2021.1950439","url":null,"abstract":"ABSTRACT This short piece reflects upon a particular kind of social media use during Italy’s lockdown from March to June 2020: it addresses the use of Instagram Live as a medium for stars like Alessandro Borghi to intervene in debates, and to construct a dialogue with fans and experts during an unprecedented period of national crisis. The piece considers how Instagram Live can be studied as a media platform that is now important for the construction of the online celebrity identity, and which offers a particular effect of intimacy and access to celebrity, but which presents specific methodological and interpretative challenges.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43016841","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/02614340.2021.1950430
D. Renga
ABSTRACT This short piece briefly addresses the casting of Ciro Di Marzio and Gennaro Savastano in Gomorra. La serie, paying particular attention to casting directors Sara Casani and Laura Muccino. The essay is based upon a personal interview with them, and investigates the hidden labour of casting directors in the Italian context who are more often than not women. It also pays special attention to the intricate process of casting two of the series’ focal villains, both of whom underwent profound bodily transformations before and during season one.
摘要：这篇短文简要介绍了Ciro Di Marzio和Gennaro Savastano在戈莫拉的选角。La serie，特别关注选角导演Sara Casani和Laura Muccino。这篇文章基于对他们的一次个人采访，调查了意大利背景下选角导演的隐性劳动，这些导演往往是女性。它还特别关注了该系列中两个焦点反派的复杂选角过程，他们在第一季之前和期间都经历了深刻的身体变化。
{"title":"Observations on Casting Gomorra. La serie","authors":"D. Renga","doi":"10.1080/02614340.2021.1950430","DOIUrl":"https://doi.org/10.1080/02614340.2021.1950430","url":null,"abstract":"ABSTRACT This short piece briefly addresses the casting of Ciro Di Marzio and Gennaro Savastano in Gomorra. La serie, paying particular attention to casting directors Sara Casani and Laura Muccino. The essay is based upon a personal interview with them, and investigates the hidden labour of casting directors in the Italian context who are more often than not women. It also pays special attention to the intricate process of casting two of the series’ focal villains, both of whom underwent profound bodily transformations before and during season one.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41376103","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/02614340.2021.1950435
L. Barra
ABSTRACT This short article focuses on television as a complex field of acting practices and actor management. Frequently relegated to a footnote in many careers, television is actually a crucial element in the life cycle of most Italian actors. Production studies insights also show that several intermediaries are in place, with a constant dynamic interplay among actors, production companies, and broadcasters. Moreover, television acting appears to be a stratified, multifaceted concept embracing many roles, different genres, and various degrees of involvement, all constituting an appreciable portion of many TV series and shows.
{"title":"Layers of Acting: Degrees and Intermediaries of Television Performance","authors":"L. Barra","doi":"10.1080/02614340.2021.1950435","DOIUrl":"https://doi.org/10.1080/02614340.2021.1950435","url":null,"abstract":"ABSTRACT This short article focuses on television as a complex field of acting practices and actor management. Frequently relegated to a footnote in many careers, television is actually a crucial element in the life cycle of most Italian actors. Production studies insights also show that several intermediaries are in place, with a constant dynamic interplay among actors, production companies, and broadcasters. Moreover, television acting appears to be a stratified, multifaceted concept embracing many roles, different genres, and various degrees of involvement, all constituting an appreciable portion of many TV series and shows.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42470042","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/02614340.2021.1976531
Danielle E. Hipkins, Elena Past, M. Seger
While the effects of COVID-19 have been glaringly unequal throughout the world, the trials of pandemic and social isolation have touched nearly every community around the globe since early 2020, bringing with them many lessons. As some countries and communities begin tentatively to emerge from the devastation inflicted by the virus, as well as the social cautions it has warranted, we have the opportunity to take stock of what was lost, and what was learned. One theme that emerges from the necessary isolation of these past many months is the importance of togetherness: of banding together to combat health crises, to provide resources to struggling neighbours, to speak up for equal access and social justice, and to continue doing the important work of education, intellectual exploration, and affective connection. This has been a togetherness recognised in both practice and absence, as those of us who were able to do so stayed safely in our homes. Often, we found ourselves tucked behind screens, learning new ways to stay connected as we carried on with our work as scholars and teachers – adapting lesson plans, reaching out to far-flung archives for digital materials, binging on all manner of media, and sharing notes with colleagues over Zoom lunches and happy hours. Through all of it, we have both yearned for and relied on the process of collaboration, the theme of this current issue. In emphasising collaboration, we take inspiration from and reach out in conversation to our editorial colleagues at gender/sexuality/italy, whose recently published issue no. 7 (2020) is also dedicated to ‘collaborations’. In the call for papers for that issue, the editors of g/s/i offered a series of useful handles for thinking through the substance of collaboration, so often taken for granted as an alchemical process beyond analysis; they asked how affect and performativity, for example, might structure our understanding of collaboration, and posited collaboration as an explicitly decolonising and feminist practice. With this issue of The Italianist we seek to extend those lines of inquiry to think about ways in which the screen industry prompts uniquely collaborative forms of production (and consumption and distribution), as well as scholarship and pedagogy. Making screen narrative is defined by its collaboratory nature: from production and fundraising, through scriptwriting and casting, to coaching and performance, costume and location scouting, camerawork, sound and editing, the multiple stages that are interwoven into the complex process put individuals into close and intricate interdependency. Conducting research on films and television can also be a highly collaborative process, and increasingly, groups of scholars are pooling resources to manage large-scale investigations into film history or media operations. With this special issue of The Italianist we investigate these two ‘co-laboratories’, of film-making and of researching or teaching through film, both a
{"title":"Editorial","authors":"Danielle E. Hipkins, Elena Past, M. Seger","doi":"10.1080/02614340.2021.1976531","DOIUrl":"https://doi.org/10.1080/02614340.2021.1976531","url":null,"abstract":"While the effects of COVID-19 have been glaringly unequal throughout the world, the trials of pandemic and social isolation have touched nearly every community around the globe since early 2020, bringing with them many lessons. As some countries and communities begin tentatively to emerge from the devastation inflicted by the virus, as well as the social cautions it has warranted, we have the opportunity to take stock of what was lost, and what was learned. One theme that emerges from the necessary isolation of these past many months is the importance of togetherness: of banding together to combat health crises, to provide resources to struggling neighbours, to speak up for equal access and social justice, and to continue doing the important work of education, intellectual exploration, and affective connection. This has been a togetherness recognised in both practice and absence, as those of us who were able to do so stayed safely in our homes. Often, we found ourselves tucked behind screens, learning new ways to stay connected as we carried on with our work as scholars and teachers – adapting lesson plans, reaching out to far-flung archives for digital materials, binging on all manner of media, and sharing notes with colleagues over Zoom lunches and happy hours. Through all of it, we have both yearned for and relied on the process of collaboration, the theme of this current issue. In emphasising collaboration, we take inspiration from and reach out in conversation to our editorial colleagues at gender/sexuality/italy, whose recently published issue no. 7 (2020) is also dedicated to ‘collaborations’. In the call for papers for that issue, the editors of g/s/i offered a series of useful handles for thinking through the substance of collaboration, so often taken for granted as an alchemical process beyond analysis; they asked how affect and performativity, for example, might structure our understanding of collaboration, and posited collaboration as an explicitly decolonising and feminist practice. With this issue of The Italianist we seek to extend those lines of inquiry to think about ways in which the screen industry prompts uniquely collaborative forms of production (and consumption and distribution), as well as scholarship and pedagogy. Making screen narrative is defined by its collaboratory nature: from production and fundraising, through scriptwriting and casting, to coaching and performance, costume and location scouting, camerawork, sound and editing, the multiple stages that are interwoven into the complex process put individuals into close and intricate interdependency. Conducting research on films and television can also be a highly collaborative process, and increasingly, groups of scholars are pooling resources to manage large-scale investigations into film history or media operations. With this special issue of The Italianist we investigate these two ‘co-laboratories’, of film-making and of researching or teaching through film, both a","PeriodicalId":42720,"journal":{"name":"Italianist","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42579269","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/02614340.2021.1950431
E. Morreale
ABSTRACT The paper sketches out the emerging relevance of acting coaches and casting directors, shedding light on a profound change within the Italian film industry. Around the mid-2000s, a new generation of directors (Di Costanzo, Rohrwacher) developed a style which implies that acting is not merely an individual matter. This process encouraged emerging casting directors and acting coaches, who increasingly became acknowledged professional figures. At the same time, the birth of high-budget TV productions increasingly required new actors, creating unprecedented opportunities for performers.
{"title":"The Hidden Work of Acting Coaches and Acting Directors","authors":"E. Morreale","doi":"10.1080/02614340.2021.1950431","DOIUrl":"https://doi.org/10.1080/02614340.2021.1950431","url":null,"abstract":"ABSTRACT The paper sketches out the emerging relevance of acting coaches and casting directors, shedding light on a profound change within the Italian film industry. Around the mid-2000s, a new generation of directors (Di Costanzo, Rohrwacher) developed a style which implies that acting is not merely an individual matter. This process encouraged emerging casting directors and acting coaches, who increasingly became acknowledged professional figures. At the same time, the birth of high-budget TV productions increasingly required new actors, creating unprecedented opportunities for performers.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48663350","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/02614340.2021.1939516
Michele Guerra, Jennifer Malvezzi, A. Mariani, Sara Martín, P. Noto, Giulio Tosi
Michele Guerra: Negli ultimi anni la ricerca in ambito umanistico ha conosciuto in Italia un notevole incremento del lavoro di squadra. Sono nati sempre più gruppi di ricerca che hanno saputo collegare meglio gli atenei e promuovere un proficuo e meno problematico rapporto intergenerazionale. Se fino a un decennio fa era ancora tutto sommato abbastanza raro, nei nostri settori, assistere ad articoli o a volumi a più mani, ora vi sono ambiti di ricerca che non sono più considerati affrontabili se non attraverso il confronto e la modularità del lavoro in team. Il nostro progetto credo rappresenti molto bene uno dei temi rispetto ai quali il lavoro di gruppo si è rivelato decisivo. La critica cinematografica, al netto delle preziose e pur necessarie visioni d’insieme che hanno visto singoli studiosi ricostruire le linee del dibattito e la geografia delle riviste, ha bisogno di un lavoro di spoglio e di scavo che è impensabile condurre in solitaria. Soprattutto, ha bisogno di una duttilità metodologica che deve di volta in volta misurarsi con le fonti (i periodici nelle loro diverse anime, dal pezzo più impegnato alla corrispondenza coi lettori), con l’archivio (pubblico e in non pochi casi più delicatamente privato), con le politiche e i poteri editoriali, con le figure di critico che hanno saputo irradiare un sistema di influenze capace di costruire discorsi estremamente solidi e duraturi, con le testimonianze orali oggi sempre più preziose per ricucire passaggi a lungo trascurati. Al contempo, mutano gli strumenti della comunicazione scientifica. Restano evidentemente valide le forme classiche della pubblicazione dei risultati della ricerca, ma sempre più si sente il bisogno di sistematizzare, di mappare, di ordinare questi risultati con l’aiuto dei dispositivi digitali che schiudono nuove frontiere di ricerca e presuppongono nuove tipologie di studioso, per cui anche le Humanities si avviano a riconoscere l’importanza di figure versate nell’elaborazione di dati che fino ad oggi sembravano rilevanti solo per gli ambiti delle scienze esatte, o per quelli economici e sociologici. Nel nostro caso, infine, anche la videoripresa si rivela uno strumento di enorme utilità, che ci consente di rendere pubbliche diverse interviste e di pensare addirittura a forme videosaggistiche di disseminazione della nostra ricerca; uno strumento che etnologi, antropologi e sociologi utilizzano da molti anni e che negli studi sul cinema è meno impiegato di quanto meriterebbe. A mio modo di vedere se la storiografia sul cinema in Italia ha
{"title":"Per una storia privata della critica cinematografica italiana","authors":"Michele Guerra, Jennifer Malvezzi, A. Mariani, Sara Martín, P. Noto, Giulio Tosi","doi":"10.1080/02614340.2021.1939516","DOIUrl":"https://doi.org/10.1080/02614340.2021.1939516","url":null,"abstract":"Michele Guerra: Negli ultimi anni la ricerca in ambito umanistico ha conosciuto in Italia un notevole incremento del lavoro di squadra. Sono nati sempre più gruppi di ricerca che hanno saputo collegare meglio gli atenei e promuovere un proficuo e meno problematico rapporto intergenerazionale. Se fino a un decennio fa era ancora tutto sommato abbastanza raro, nei nostri settori, assistere ad articoli o a volumi a più mani, ora vi sono ambiti di ricerca che non sono più considerati affrontabili se non attraverso il confronto e la modularità del lavoro in team. Il nostro progetto credo rappresenti molto bene uno dei temi rispetto ai quali il lavoro di gruppo si è rivelato decisivo. La critica cinematografica, al netto delle preziose e pur necessarie visioni d’insieme che hanno visto singoli studiosi ricostruire le linee del dibattito e la geografia delle riviste, ha bisogno di un lavoro di spoglio e di scavo che è impensabile condurre in solitaria. Soprattutto, ha bisogno di una duttilità metodologica che deve di volta in volta misurarsi con le fonti (i periodici nelle loro diverse anime, dal pezzo più impegnato alla corrispondenza coi lettori), con l’archivio (pubblico e in non pochi casi più delicatamente privato), con le politiche e i poteri editoriali, con le figure di critico che hanno saputo irradiare un sistema di influenze capace di costruire discorsi estremamente solidi e duraturi, con le testimonianze orali oggi sempre più preziose per ricucire passaggi a lungo trascurati. Al contempo, mutano gli strumenti della comunicazione scientifica. Restano evidentemente valide le forme classiche della pubblicazione dei risultati della ricerca, ma sempre più si sente il bisogno di sistematizzare, di mappare, di ordinare questi risultati con l’aiuto dei dispositivi digitali che schiudono nuove frontiere di ricerca e presuppongono nuove tipologie di studioso, per cui anche le Humanities si avviano a riconoscere l’importanza di figure versate nell’elaborazione di dati che fino ad oggi sembravano rilevanti solo per gli ambiti delle scienze esatte, o per quelli economici e sociologici. Nel nostro caso, infine, anche la videoripresa si rivela uno strumento di enorme utilità, che ci consente di rendere pubbliche diverse interviste e di pensare addirittura a forme videosaggistiche di disseminazione della nostra ricerca; uno strumento che etnologi, antropologi e sociologi utilizzano da molti anni e che negli studi sul cinema è meno impiegato di quanto meriterebbe. A mio modo di vedere se la storiografia sul cinema in Italia ha","PeriodicalId":42720,"journal":{"name":"Italianist","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44055984","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：