Journal of Italian Cinema and Media Studies最新文献

{"title":"Davide Ferrario’s architecture of cinema: Body, building, line","authors":"L. S. Lerner","doi":"10.1386/JICMS.7.2.233_1","DOIUrl":"https://doi.org/10.1386/JICMS.7.2.233_1","url":null,"abstract":"","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"18 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88855118","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}

{"title":"Translating and adapting cinema across borders: American remakes of Italian films in the twenty-first century","authors":"Cosetta Gaudenzi","doi":"10.1386/JICMS.7.2.283_1","DOIUrl":"https://doi.org/10.1386/JICMS.7.2.283_1","url":null,"abstract":"","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"47 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73353581","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}

{"title":"Birdmen Magazine: Cinema, TV series, theatre","authors":"Carlo Maria Rabai","doi":"10.1386/JICMS.7.2.305_7","DOIUrl":"https://doi.org/10.1386/JICMS.7.2.305_7","url":null,"abstract":"","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"71 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73520137","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}

{"title":"Between auteurism and sponsored cinema: Joris Ivens, Bernardo Bertolucci and ENI","authors":"L. Peretti","doi":"10.1386/JICMS.7.2.199_1","DOIUrl":"https://doi.org/10.1386/JICMS.7.2.199_1","url":null,"abstract":"","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"139 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86264723","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}

{"title":"The Coen Brothers","authors":"Jeffrey C. Adams","doi":"10.1093/obo/9780199791286-0313","DOIUrl":"https://doi.org/10.1093/obo/9780199791286-0313","url":null,"abstract":"The Coen brothers, Ethan and Joel, launched their career as independent filmmakers in 1984 with the debut of Blood Simple, a low-budget neo-noir. Since then, they have written and directed sixteen feature films in a variety of generic styles, including film noir, crime comedy, gangster movie, neo-western, and screwball comedy. The Coens are auteurs who consider themselves storytellers as much as filmmakers; their screenplays borrow heavily from or re-create the texts of venerable literary precursors, especially the pulp fiction of James M. Cain, Dashiell Hammett, and Raymond Chandler. From the beginning, journalistic commentators have been divided in their assessments of the Coens’ films. Despite widespread acclaim and praise for their filmmaking technique, popular movie reviewers have accused them of cynicism and misanthropy, criticizing their films for a lack of purpose or meaning and for a perceived lack of realism and authenticity. More tolerant of the hermeneutic ambiguity that characterizes Coen films, academic scholars have made various attempts to reassess the films more favorably. Although Coen movies have been widely reviewed by journalists from the start, scholarly publications on the Coens did not begin to appear with any regularity until after the commercial and critical success of Fargo in 1996. Since then, scholars from a wide range of disciplines have published increasing numbers of books, anthologies, and journal articles addressing the Coens’ innovative use of genre and pastiche, their treatment of philosophical and religious themes, and the incongruous mixing of humor and violence that has become a Coen trademark. The large fan cult that emerged in response to The Big Lebowski stimulated heightened academic interest; more research has been published on Lebowski than any other Coen film to date. Likewise, their award-winning adaptation of Cormac McCarthy’s No Country for Old Men has received increased scholarly attention.","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"8 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90328841","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}

{"title":"Radio and Sound Studies","authors":"Shawn VanCour","doi":"10.1093/obo/9780199791286-0312","DOIUrl":"https://doi.org/10.1093/obo/9780199791286-0312","url":null,"abstract":"“Radio studies” is a relatively recent term used to signal the explosive growth in scholarship on the medium that has developed as part of a larger interest in sound media and audio culture across the arts and humanities since the 2000s. However, scholarly studies of radio are by no means unique to the new millennium, extending back to the very earliest years of the medium. Prior to World War I, when radio was primarily a medium of point-to-point wireless telegraphy used for shipboard military and trade communications, radio scholarship was mainly the province of science and engineering. As dominant uses shifted to broadcasts of public news and mass entertainment after the war, radio garnered the attention of social scientists, whose methods for quantitative media effects research formed the backbone of work in newly constituted departments of communication studies during the 1940s and 1950s. An initial humanistic turn in radio scholarship came with the rise of dedicated programs in journalism and mass communication during the 1960s and 1970s, which spawned a series of historical studies and critical analyses of radio’s industrial and regulatory regimes. The formation of new departments of radio, television, and film in the 1980s and 1990s ushered in a second methodological shift toward close analysis of politics of representation in radio texts and their negotiations of ongoing struggles for cultural representation by traditionally marginalized social groups. This cultural turn generated increased interest in radio moving into the 2000s, which was further fueled by newfound attention to the medium within neighboring fields of music studies, literary studies, and media arts. Scholarship since the 2000s has been marked by five larger tendencies, including (1) further attention to alternative programming forms and listening cultures, from educational broadcasting to entertainment broadcasts by and for members of neglected or underserved communities; (2) explorations of radio at local and transitional levels, supplementing or challenging earlier emphases on national broadcasting; (3) considerations of digital distribution’s impact on dominant forms of content and listening practices; (4) analyses of radio aesthetics, including work on sound style, genre studies, and performance studies; and (5) a growing intermedial awareness of radio’s connections to neighboring technologies and cultural forms. While focusing on work produced during the height of the radio studies boom from the 2000s onward, this article also includes representative texts from earlier periods and other disciplinary traditions, synthesizing these under a series of broader headings. Beginning with general reference texts and theoretical works, it then moves to more technologically oriented studies of radio inventors and inventions, followed by work on radio’s industrial and regulatory contexts, its programming forms and on-air talent, and its reception contexts. Works listed are limi","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"69 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80176899","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}

{"title":"The use of archival footage: ‘Retelling’ twentieth-century Italian history: An interview with Giovanna Gagliardo","authors":"F. Laviosa","doi":"10.1386/JICMS.7.1.117_7","DOIUrl":"https://doi.org/10.1386/JICMS.7.1.117_7","url":null,"abstract":"","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"28 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87474540","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}

{"title":"An interview with Piera Detassis: The many voices of Italian cinema","authors":"Massimo Mascolo","doi":"10.1386/JICMS.7.1.93_7","DOIUrl":"https://doi.org/10.1386/JICMS.7.1.93_7","url":null,"abstract":"","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"14 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90346726","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}

{"title":"Film reviews","authors":"M. Urban, Roberta Tabanelli","doi":"10.1386/jicms.7.1.141_4","DOIUrl":"https://doi.org/10.1386/jicms.7.1.141_4","url":null,"abstract":"","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89291446","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}

{"title":"Johanne Affricot, culture curator, creative and artistic director, founder and creative director of GRIOT, president of LIT","authors":"","doi":"10.1386/jicms.7.1.125_7","DOIUrl":"https://doi.org/10.1386/jicms.7.1.125_7","url":null,"abstract":"","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"28 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81883073","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}