Journal of Italian Cinema and Media Studies最新文献

{"title":"Film Guilds and Unions","authors":"","doi":"10.1093/obo/9780199791286-0344","DOIUrl":"https://doi.org/10.1093/obo/9780199791286-0344","url":null,"abstract":"Film guilds and unions engage in collective bargaining on behalf of media workers in the United States and around the world. Historically, the word “guild” was associated with craft and professional training, but in the US film industry it is often interchangeable with “union.” The exception to this rule is the Producers Guild of America (PGA), which is a professional organization that maintains professional standards and provides its members with networking opportunities. In Hollywood, unions also exist alongside craft organizations such as the American Society of Cinematographers, which help to advance the art and establish professional norms, but do not negotiate wages or provide health and retirement benefits. Some film unions (such as those in the United States, Canada, and England) are historically more well established, in contrast to nations where production is not unionized or unionization has only recently begun. Film unions and guilds in the United States, which include the Directors Guild of America (DGA), the International Alliance of Theatrical Stage Employees (IATSE), SAG-AFTRA (the union that represents screen performers), and the Writers Guild of America (WGA), have been the most well-studied. Since the first Studio Basic Agreement in 1926, unions have contributed to the professional development and well-being of Hollywood workers, but they have historically been marginal institutions within cinema and media scholarship. There has been abundant writing on union activities in journalistic sources and union magazines, all of which are essential reading for scholars of film guilds and unions. Those looking for scholarship on unions and guilds will need to read across disciplines, as the work on film guilds and unions is methodologically diverse and comes from labor historians and political economists of communication, in addition to cinema and media scholars.","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"44 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79668932","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":"Streaming Television","authors":"","doi":"10.1093/obo/9780199791286-0347","DOIUrl":"https://doi.org/10.1093/obo/9780199791286-0347","url":null,"abstract":"Television scholars have been exploring changes within the television industry for decades, with studies of “new” media like cable and satellite television acknowledging the innovative possibilities created by technological advancements while also reasserting the relevance of long-standing modes of practice and conceptual understanding. As such, the emergence of digital technologies as integral to television distribution has inspired work focused on similar themes of change and continuity. While digital technologies span a wide variety of media, this bibliography focuses on streaming television, and as such, related works about streaming video, which may include cinema, gaming, and mobile or social media, may not be included here. There are a variety of reasons for this focus on television, but perhaps most importantly, the content that has consistently animated streaming businesses like Netflix is best called “television,” because it tends to be viewed at home, on small screens, with programming that is serialized or episodic and produced by major media conglomerates. One other caveat is that “streaming television” is only one of a host of common terms to refer to television viewed through the Internet today. Other common terms include convergence, spreadable media, connected viewing, transmedia, web TV, Internet-distributed TV, binge viewing, and subscription video on demand (SVOD), among others. This breadth of keywords demonstrates not only that this is cutting-edge work, but also that scholars and the industry they study are constantly working to pin down an ever-changing research object. To define this evolving area of study, then, this article prioritizes work that builds upon historical and theoretical foundations for the exploration of streaming television. The section organization highlights history, industry, and audience, with additional sections reviewing book-length studies, both single-authored and anthologized. Positioning an entry in any single category is not meant to limit the scope or significance of the work; as such, authors may appear across sections, and some works could comfortably fit under more than one section because the work in this article is nuanced and may feature multiple methodologies. Nevertheless, the section categorizations seek to make sense of a developing subfield and a complex set of objects. The streaming landscape is only becoming more competitive, through the emergence of new streamers (like Hulu and Amazon) and of traditional media companies creating streaming portals (the BBC iPlayer, HBO Max, Paramount+, Disney+, etc.). As such, Netflix may not always be the dominant player in the United States, just as it is often not the dominant player abroad, and for this reason, Netflix is not separated out as an organizing category. This article argues that scholarly work exploring how we study streaming television provides essential tools to understand the industry and its content, now and for years to come.","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"17 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78885219","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":"Terry Gilliam","authors":"","doi":"10.1093/obo/9780199791286-0342","DOIUrl":"https://doi.org/10.1093/obo/9780199791286-0342","url":null,"abstract":"With a directorial career spanning over forty years, Terry Gilliam (b. 1940) remains rooted in the sensibilities of his early work in animation. Born in Minnesota and raised in the Los Angeles area, Gilliam, sometimes classified as a British filmmaker, has lived in England since the 1960s, renouncing his US citizenship in 2006. As the resident animator of Monty Python’s Flying Circus (1969–1974), Gilliam created surreal and absurd vignettes from cutout images that complemented the live sketches. After partnering with fellow Python Terry Jones in directing Monty Python and the Holy Grail (1975), Gilliam struck off on his own with Jabberwocky (1977). Many films followed in which one or more members of Monty Python appeared as actors under his direction. Though Gilliam’s works ostensibly cover diverse subjects—bureaucracy, virus outbreaks, and the gonzo journalist Hunter S. Thompson, to name only a few—all engage with questions of the power and problems of the imagination in the face of an often-grim or oppressive reality. The overall look of a Gilliam film is unmistakable as well, with off-kilter shots meant to disorient the viewer and crowded mises-en-scène. His use of wide-angle lenses is so extensive that the 14-millimeter lens has been nicknamed “the Gilliam.” Deeply involved not only in camerawork but in many other aspects of production such as costuming, set design, and scriptwriting, Gilliam would seem to fit the definition of an auteur. However, in numerous interviews, Gilliam resists that label, stressing his collaborative approach and openness to suggestions. Indeed, the process of making and distributing his films has sometimes garnered as much, if not more, attention than the films themselves. Brazil (1985), The Adventures of Baron Munchausen (1988), The Brothers Grimm (2005), and The Imaginarium of Doctor Parnassus (2014) all faced disruptions and setbacks of various kinds. No production was bedeviled so long and in so many ways as The Man Who Killed Don Quixote (2018), taking nearly thirty years to reach the screen. Frequently identifying with the main characters of his films in progress, Gilliam perhaps most resembles Don Quixote in his unstinting commitment to his vision, whether commercially successful or not, whether brilliant or baffling to critics or audiences.","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"27 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85361654","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":"Bernard Herrmann","authors":"","doi":"10.1093/obo/9780199791286-0341","DOIUrl":"https://doi.org/10.1093/obo/9780199791286-0341","url":null,"abstract":"Bernard Herrmann (b. 1911–d. 1975) was a prolific American composer and conductor, known primarily for his work in film. He was also active, however, as a composer for radio and television, had written music for the concert and operatic stage, and had a prodigious conducting career later in his life. The majority of the current research on his oeuvre focuses on his film scoring and his collaborations with film directors such as Alfred Hitchcock, Orson Welles, François Truffaut, Martin Scorsese, and Brian De Palma. He started producing scores for films in 1941, with Welles for the film Citizen Kane, and died just after completing his work for Taxi Driver (dir. Scorsese, 1976). Prior to his experience in cinema, Herrmann wrote music for hundreds of radio dramas starting in the 1930s and continuing until the 1950s, which he credited for his ability to compose so readily for cinema. Herrmann’s most famous collaboration was with Hitchcock, which began with the film The Trouble with Harry (1955) and ended with Marnie (1964). The director-composer duo had a falling out in 1966 over Herrmann’s score to Torn Curtain, which Hitchcock refused to use; the director instead hired John Addison to replace Herrmann. Herrmann went on to compose scores for films by Truffaut, Scorsese, and De Palma in the 1960s and 1970s. While composing for cinema, Herrmann also wrote stock music for television, mainly for CBS, throughout the 1950s and 1960s. Herrmann also conducted concert and film music on several recordings released from 1966 through 1976, including some of his own concert works. In addition to an extraordinary output for film, radio, television, and recording, Herrmann also wrote concert music, some of which he considered most dear. He composed orchestral, ballet, and vocal music throughout his life, starting in his teens and until his death. His opera Wuthering Heights (1951) was especially important to him. In interviews, especially later in life, Herrmann emphasized that he was a composer of music—not one restricted to only film music—and even then, he regarded film music to be equal to that for the concert stage.","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"15 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81315902","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":"Sulle Tracce di Fellini (On Fellini’s Footsteps), Gérald Morin (dir.) (2013), France and Switzerland: ARTE, Artemis Films Productions, RSI Radiotelevisione Svizzera and SRG-SSR","authors":"Diego Bonelli","doi":"10.1386/JICMS_00089_7","DOIUrl":"https://doi.org/10.1386/JICMS_00089_7","url":null,"abstract":"","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"13 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88445423","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":"I dannati della terra: The Italian left facing the Third World on the eve of 1968","authors":"Mariano Mestman","doi":"10.1386/JICMS_00083_1","DOIUrl":"https://doi.org/10.1386/JICMS_00083_1","url":null,"abstract":"The Italian film I dannati della terra (The Damned of the Earth) (Orsini and Filippi 1968) is a prominent example of the connection between the European cinema of intervention and the Third World struggles of the 1960s. Set as a ‘film within a film’, the movie\u0000 tells the story of a leftist filmmaker, Fausto Morelli, who faces the challenge of finishing a film about the liberation struggles of sub-Saharan Africa by building on the documentary footage that was bequeathed to him by his student and friend, the young Abramo Malonga, an African (Bantu).\u0000 This article recovers overlooked and little-known documents about the film to show that it is the expression of an active cinematic Third Worldism forged in previous years between the legacy of the Resistenza Partigiana (Italian Resistance) and the Third World struggles of the 1960s. At the\u0000 same time, the article analyses the ways in which the film ‘dialogues’ with experimental trends of the contemporary avant-garde artistic scene in order to challenge the viewer to debate the ‘open ideological hypothesis’ of the film and take an active part in the political\u0000 struggles of the time.","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"7 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86443272","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":"Waiting for Woody, Claudio Napoli (dir.) (2020), USA: OkoZoko","authors":"Sarah Annunziato","doi":"10.1386/JICMS_00094_7","DOIUrl":"https://doi.org/10.1386/JICMS_00094_7","url":null,"abstract":"","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"32 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88544180","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":"Virtual Reality","authors":"Miriam Ross","doi":"10.1093/obo/9780199791286-0339","DOIUrl":"https://doi.org/10.1093/obo/9780199791286-0339","url":null,"abstract":"The early 20th century saw the coalescence of several representation technologies: moving-image photography, audio recording, stereoscopy, and color imaging. Many technologists, particularly filmmakers, imagined these technologies would one day provide an exact replica of the world as we experience it. This possibility was articulated in Henry Weinbaum’s 1932 short story Pygmalion’s Spectacles that accurately predicted later virtual reality (VR) headsets through his description of goggles that transport the user to another world. A few decades later, in the 1960s, Ivan Sutherland and Morton Heilig produced working head-mounted displays that immersed users in, albeit primitive, computer-generated environments. Experiments in the following decades provided numerous industrial applications from medical imaging and military training to flight simulation and automobile design. At the same time, this technology became more widely known in the public imagination through cyberpunk novels such as Neuromancer (1980) and feature films such as The Lawnmower Man (1992). Although VR was most closely associated with immersive headsets, other hardware such as CAVE displays produced VR environments. In 1987 John Larnier popularized the term “virtual reality” to best describe both the emerging hardware and wider assumptions around virtual world building. Widespread press and academic publications appeared throughout the late 1980s and 1990s as interest in this area grew. However, the 1980s/1990s VR boom never reached full public acceptance and experiments with this technology remained peripheral throughout the first decade and a half of the 21st century. This changed in 2016 when a range of consumer-ready headsets came to market, and new applications for VR as well as industrial and consumer markets sprung up. For the first time, 360-degree film and video became commonly available for consumer headsets and were categorized as a VR application. Since then, there has been renewed academic attention, leading to a range of publications that address current VR systems as well as their past manifestations and future possibilities. VR has such far-reaching applications that it is difficult to condense the wide variety of scholarship connected to this technology. Indeed, the study and application of VR systems crosses many subject disciplines, with VR emerging as a subdiscipline in numerous subjects such as computer engineering, creative and performing arts, architecture, cultural studies, and design. Nonetheless, certain themes have been repeated such as VR’s ability to transport users to different worlds and its interaction with other media formats. The focus here is not on the numerous technical articles and papers related to the particularities of VR hardware and software but rather the books, chapters, and articles that describe and interrogate the holistic function of VR, how VR has shifted over recent decades, and the social-cultural and philosophical debates that ","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"9 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-02-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74510849","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":"With a hat and a red scarf: The construction of Federico Fellini’s public image","authors":"C. Centorrino, Marco Dalla Gassa, Andrea Minuz","doi":"10.1386/jicms_00047_2","DOIUrl":"https://doi.org/10.1386/jicms_00047_2","url":null,"abstract":"","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"23 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81694403","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":"Mad Men","authors":"Gary R. Edgerton","doi":"10.1093/obo/9780199791286-0338","DOIUrl":"https://doi.org/10.1093/obo/9780199791286-0338","url":null,"abstract":"Once or twice a decade, a new television program comes along to capture and express the zeitgeist. Mad Men (2007–2015) was that show in the late 2000s and early 2010s. Soon after premiering on the 19 July 2007 on AMC (formerly American Movie Classics from 1984 to 2003), Mad Men evolved from being that little program that nobody watched on an also-ran basic cable channel to the most celebrated scripted drama of its era. Mad Men set the creative standard for dramatic series over the span of its initial run. It was recognized by the Hollywood Foreign Press Association as the Best Television Drama of 2007, 2008, and 2009; the British Academy of Film and Television as Best International Show of 2009 and 2010; and the National Academy of Television Arts and Sciences as the Outstanding Drama Series of 2008, 2009, 2010, and 2011, being the first basic cable series ever to win this award. Overall, Mad Men won five Golden Globes, sixteen Emmys, and fifty other major awards, including honors from all of the major Hollywood guilds, as well as receiving a prestigious George Foster Peabody Award for excellence in broadcasting. In retrospect, AMC executives adopted what they referred to as “the HBO formula” of developing their own edgy, sophisticated, passion project by a proven writer-producer, Matthew Weiner, who just happened to have a pedigree that included The Sopranos (HBO, 1999–2007). What resulted was the gradual emergence of Mad Men as AMC’s first original hit series, generating unprecedented word-of-mouth, and rebranding the channel as a hipper, more discriminating, alternative cable-and-satellite network. In turn, Mad Men broke the glass ceiling for basic cable in much the same way that The Sopranos had done for pay TV some eight-and-a-half years earlier. Mad Men also benefited greatly from the emergence of multiplatform reception. Even though Mad Men’s impact on AMC was immediate and transformative, the show was at first more a cultural phenomenon than a breakout hit. Nevertheless, its first-season audience average of 900,000 on AMC in 2007 eventually grew to 2.5 million by Season 6. Moreover, Mad Men’s total viewership relied heavily on syndication, DVDs, and streaming to digital devices, translating into an estimated 30 million unduplicated viewers per episode in North America alone. By the time of its finale on 17 May 2015, Mad Men was being syndicated in over fifty countries and was available 24/7 through online streaming globally.","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"13 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84973873","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}