Comunicazioni Sociali. Journal of Media, Performing Arts and Cultural Studies
COMUNICAZIONI SOCIALI
Journal of Media, Performing Arts and Cultural Studies
CS is an international journal edited by the Department of Communication and Performing Arts and the Graduate School of Media Communications and Performing Arts (ALMED) of the Università Cattolica del Sacro Cuore, Milan. Founded in 1973 and regularly published since 1979, the journal hosts monographic and miscellaneous issues on a variety of topics in the performing arts, film, radio, television, journalism, advertising, and digital media. The journal welcomes interdisciplinary perspectives and promotes rigorous debates on theory, history, critical analysis of media production and consumption, also from ethical and anthropological points of views.
CS uses a double-blinded peer review system and has an international editorial board.
Scientific Committee
PIERMARCO AROLDI, CLAUDIO BERNARDI, ROBERTA CARPANI, ANNAMARIA CASCETTA, FAUSTO COLOMBO, RUGGERO EUGENI, MARIAGRAZIA FANCHI, ARMANDO FUMAGALLI, CHIARA GIACCARDI, ALDO GRASSO, MASSIMO LOCATELLI, SILVANO PETROSINO, MASSIMO SCAGLIONI, GIORGIO SIMONELLI (Università Cattolica del Sacro Cuore), CHRISTIAN BIET (Paris X - Nanterre, F), GIOVANNI BOCCIA ARTIERI (Università degli Studi di Urbino, I), JÉRÔME BOURDON (Tel Aviv University, IL), GUSTAVO CARDOSO (Lisbona University Institute, P), NICO CARPENTIER (VUB - Free University of Brussels, B), FRANCESCO CASETTI (Yale University, US), STANLEY E. GONTARSKI (Florida State University, US), JAIME NUBIOLA (Universidad de Navarra, E), PEPPINO ORTOLEVA (Università degli Studi di Torino, I), LAURA RASCAROLI (University College Cork, IRL), ALEXANDRA SCHNEIDER (Universiteit van Amsterdam, NL), IRA WAGMAN (Carleton University, Ottawa, CDN)
Editor in Chief
CHIARA GIACCARDI
Editorial Board
LAURA PEJA (coordinator), PAOLO BRAGA, ROBERTA CARPANI, ADRIANO D'ALOIA, MASSIMO LOCATELLI, MASSIMO SCAGLIONI, NICOLETTA VITTADINI
website: http://comunicazionisociali.vitaepensiero.com
Address: Comunicazioni Sociali. Journal of Media, Performing Arts and Culturale Studies / Dipartimento di Scienze della comunicazione e dello spettacolo / Università Cattolica del Sacro Cuore / Via Sant'Agnese 2 (II floor) / 20123 Milan ITALY
Journal of Media, Performing Arts and Cultural Studies
CS is an international journal edited by the Department of Communication and Performing Arts and the Graduate School of Media Communications and Performing Arts (ALMED) of the Università Cattolica del Sacro Cuore, Milan. Founded in 1973 and regularly published since 1979, the journal hosts monographic and miscellaneous issues on a variety of topics in the performing arts, film, radio, television, journalism, advertising, and digital media. The journal welcomes interdisciplinary perspectives and promotes rigorous debates on theory, history, critical analysis of media production and consumption, also from ethical and anthropological points of views.
CS uses a double-blinded peer review system and has an international editorial board.
Scientific Committee
PIERMARCO AROLDI, CLAUDIO BERNARDI, ROBERTA CARPANI, ANNAMARIA CASCETTA, FAUSTO COLOMBO, RUGGERO EUGENI, MARIAGRAZIA FANCHI, ARMANDO FUMAGALLI, CHIARA GIACCARDI, ALDO GRASSO, MASSIMO LOCATELLI, SILVANO PETROSINO, MASSIMO SCAGLIONI, GIORGIO SIMONELLI (Università Cattolica del Sacro Cuore), CHRISTIAN BIET (Paris X - Nanterre, F), GIOVANNI BOCCIA ARTIERI (Università degli Studi di Urbino, I), JÉRÔME BOURDON (Tel Aviv University, IL), GUSTAVO CARDOSO (Lisbona University Institute, P), NICO CARPENTIER (VUB - Free University of Brussels, B), FRANCESCO CASETTI (Yale University, US), STANLEY E. GONTARSKI (Florida State University, US), JAIME NUBIOLA (Universidad de Navarra, E), PEPPINO ORTOLEVA (Università degli Studi di Torino, I), LAURA RASCAROLI (University College Cork, IRL), ALEXANDRA SCHNEIDER (Universiteit van Amsterdam, NL), IRA WAGMAN (Carleton University, Ottawa, CDN)
Editor in Chief
CHIARA GIACCARDI
Editorial Board
LAURA PEJA (coordinator), PAOLO BRAGA, ROBERTA CARPANI, ADRIANO D'ALOIA, MASSIMO LOCATELLI, MASSIMO SCAGLIONI, NICOLETTA VITTADINI
website: http://comunicazionisociali.vitaepensiero.com
Address: Comunicazioni Sociali. Journal of Media, Performing Arts and Culturale Studies / Dipartimento di Scienze della comunicazione e dello spettacolo / Università Cattolica del Sacro Cuore / Via Sant'Agnese 2 (II floor) / 20123 Milan ITALY
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Issues by Comunicazioni Sociali. Journal of Media, Performing Arts and Cultural Studies
LUCA BENVENGA - ELISABETTA TRINCA
Health and Digitalization. Active Ageing, Technologies and New Contemporary Challenges
GABRIELE D’AUTILIA
Nascondere mostrando. L’invenzione della moderna propaganda visiva in Italia prima del fascismo
GLORIA DAGNINO
The Politicity of Netflix: Opportunities and Contradictions of Digital Distribution through the Case of Sulla Mia Pelle
VIRGIL DARELLI
L’unità di produzione: un’idea di servizio pubblico nell’Italia del rinnovamento televisivo (1969-1976)
LORENZO DENICOLAI
‘Learning by Watching’ with Televised School: How the Italian Broadcaster Rai Has Supported Students during the Covid-19 Pandemic
GEA DUCCI - ALESSANDRO LOVARI - FRANCESCA RIZZUTO
The Culture of Communication in the Public Sector Facing
the Challenge of Digital Media: An Explorative Research in Italy and France
GIULIA MUGGEO
“Scrivetemi come parlate”. Il divo televisivo Mario Riva e la rubrica di posta dei lettori sulle pagine de “Il Musichiere”
VALERIO SBRAVATTI
Self-Reflexive Suspense: The Music of Bernard Herrmann and Pino Donaggio in Brian De Palma’s Thrillers
LUCA BENVENGA - ELISABETTA TRINCA
Health and Digitalization. Active Ageing, Technologies and New Contemporary Challenges
GABRIELE D’AUTILIA
Nascondere mostrando. L’invenzione della moderna propaganda visiva in Italia prima del fascismo
GLORIA DAGNINO
The Politicity of Netflix: Opportunities and Contradictions of Digital Distribution through the Case of Sulla Mia Pelle
VIRGIL DARELLI
L’unità di produzione: un’idea di servizio pubblico nell’Italia del rinnovamento televisivo (1969-1976)
LORENZO DENICOLAI
‘Learning by Watching’ with Televised School: How the Italian Broadcaster Rai Has Supported Students during the Covid-19 Pandemic
GEA DUCCI - ALESSANDRO LOVARI - FRANCESCA RIZZUTO
The Culture of Communication in the Public Sector Facing
the Challenge of Digital Media: An Explorative Research in Italy and France
GIULIA MUGGEO
“Scrivetemi come parlate”. Il divo televisivo Mario Riva e la rubrica di posta dei lettori sulle pagine de “Il Musichiere”
VALERIO SBRAVATTI
Self-Reflexive Suspense: The Music of Bernard Herrmann and Pino Donaggio in Brian De Palma’s Thrillers
The articles in this special issue demonstrate that struggle can, on the one hand, be associated with conscious acts of re/appropriation or dominance over specific issues, discourses, positions (struggle over), but, on the other hand, also with the means, tactics, strategies through which struggles are waged (struggle through). Furthermore, the special issue also allows showing that there are different ‒ albeit interconnected ‒ fields over which political struggles are waged, and that there are different mechanisms through which political struggles are organized.
The collection offers a snap-shot of the complexity of political struggles, the fields over which the struggles are waged, and the mechanisms that are used to wage these struggles. Even if many other fields and mechanisms can be distinguished, this special issue hopefully provides an already rich overview of the different fields and mechanisms that play a role in political struggles. Moreover, and even more importantly, this special issue shows the omnipresence and variety of political struggle in contemporary society, and the relevance of this concept for the study of social phenomena in the 21st century.
This concerted academic attention continues to raise a number of critical, theoretical and methodological, questions: how instrumental is the category of gender in exposing power dynamics and labour relations in the Italian past and present screen industries? How can we uphold intersectional feminist, queer and decolonial perspectives of gender and labour in meaningful ways? How do we redress long-established heteronormative and binary approaches? Finally, how do we tackle historical bias in archival practice and engage with the promises and limitations of digital technologies?
This special journal issue aims to foreground a range of research approaches and methods to document the intersection between gender and labour from a diachronic or synchronic perspective. It welcomes a variety of theoretical frameworks and applied case studies that identify and engage (self-)critically with past and present understandings of gendered specialisation and discrimination in the Italian screen industries, also from comparative and/or transnational perspectives. This issue concurrently serves as a platform for screen industry scholars and practitioners to reflect critically on historical relations of gender bias and power in the research process, calling them to examine consciously and explicitly the assumptions that underpin their approaches and methods and the nature and availability of their archives and data resources. We are also interested in contributions from educators and practitioners whose work integrates ethical principles in the formulation of innovative research-led teaching and creative practice.
The singer-songwriter is a mythical figure in popular imagination in different countries, a bridge between a variety and even contradictory forms of experience, both cultural and social. In the Italian context, it has been respectively interpreted in social history as a symptom of collective traumas (Bonanno 2009, Santoro 2010), and in popular music studies as a successful pop icon (Gentile 1979, Borgna 1995-2004), or as a genre (Fabbri, 1982) and – consequently - as an ideological construction (Tomatis, 2019). Only recently, has the transnational dimension of this phenomenon been stressed out and problematized further (Green and Marc 2013, Looseley 2013, Marc 2016).
The starting hypothesis of this call is that this production formula in the record industry emerged in Italy, influenced mainly by experiences in France and North America, in response to the social crises of the Sixties and Seventies. It offered a poetic account of the shared understanding of the time, as well as style models and fruition experiences perceived by the public as authentic. It gave life to an all-round communicative model, which could be used in different contexts and is still probably re-emerging in contemporary media culture.
It is widely known that film and audiovisual shoots can have a positive impact on the host location economy: more tax revenues, new employment and facilities, etc. Sometimes, film and audiovisual products stimulate tourism too, which implies once again economic benefits. In both cases, they feed local pride and contribute to re-define the image and status of the host places. In the framework of the post-pandemic recovery, these two capabilities are receiving even more attention than in the past: tourism, for instance, was one of the sectors that suffered most due to the health emergency, and its relaunch is at the top of the agenda of many public institutions. Thus, the current scenario moves film and audiovisual production at the center of the action plans for the post-pandemic economy and society. However, all the current recovery policies base themselves on the concept of sustainability, and this raises the question how film and audiovisual production meet the concept of sustainability.
In the (post-)pandemic world, the capability of film and audiovisual production to serve places needs to be reconsidered through the lens of sustainability and its three pillars: economic sustainability, environmental sustainability, and social sustainability. This reconceptualization challenges the widely accepted idea of a win-win relationship between audiovisual production and places. In doing that, it invites to distinguish between good and bad practices, to investigate complex networks of stakeholders that pursue different goals, to adopt new research perspectives and research tools that allow media scholars to fruitfully address the most urgent issues on the political agenda.
Possible topics include but are not limited to:
- the relocation of the cinematic experience: spaces, devices, experiences;
- Post-Millennials’ creative practices: user-generated contents (UGCs), blogging/vlogging, app-based and artistic practices;
- theories and methodological approaches;
- cinema and issues of identity: generation, gender, ethnicity or class;
- iGen and fandom: stars, peers, communities;
- the imagery of Post-Millennials as media consumers in contemporary cinema, television, literature.
Those exposed children are a powerful reminder of the wider condition of the human beings who for many years from birth are incapable of looking after themselves and are so “exposed”, vulnerable, totally open to all perils and even to death unless someone takes constant care of them...
Parleremo diffusamente dei sogni dei nostri ragazzi giovedì 9 maggio 2024 nel primo Animation Day. In mattinata interverranno i professionisti delle industrie creative che lavorano nel campo dell'animazione. Nel pomeriggio verrà presentato il numero monografico della rivista Comunicazioni Sociali - Journal of Media, Performing Arts and Cultural Studies dal titolo "The Children are Watching us Exploring Audiovisual Content for Children"