Journal of Italian Cinema and Media Studies最新文献

{"title":"Television Authorship","authors":"Leora Hadas","doi":"10.1093/obo/9780199791286-0323","DOIUrl":"https://doi.org/10.1093/obo/9780199791286-0323","url":null,"abstract":"Unlike the well-established tradition of auteurism in its sibling art cinema, in the case of television, the question of authorship continues to be fraught: subject to contestations not only over who can be called the television author but over whether that author exists at all. The heavily collaborative and standardized nature of most television production has been a long-standing issue for discussions of authorship, which have often argued that the concept is not useful for analyzing television—putting emphasis instead on the polysemic television text—or else focused on the struggle for control and agency between creative practitioners and television networks. Two main strands that coalesced early on in scholarship locate the television author either in the producer or the writer, with additional early work on directors mostly reaching a dead end. Over time, the focus has shifted to invest authorship in a hyphenate writer-producer figure, and in the late 2010s, both academic and popular criticism is often concerned with the figure of the showrunner. While not an official title credit, it is this figure of the individual seen as exercising full creative control of a show that is now often celebrated or indeed critiqued as television’s auteur. In the United States, the study of television authorship can be broadly mapped onto ideas of periodization in television and is bound up with issues of quality, cult, and artistic legitimation. Moments and figures of frequent interest to scholars are the anthology writers of the “golden age”; the late 1970s emergence of MTM and Norman Lear’s work with Tandem Productions as early birds of “quality” television, as well as ideas of studio authorship and company style; the appearance of the showrunner concept in the mid-1990s with Dick Wolf and cult showrunners such as Joss Whedon; and the auteurist branding of HBO from 1999 (The Sopranos) onward, leading into ideas of a “second golden age” led by the showrunner as auteur. Today’s “Peak TV” period is characterized by interest in the position of the author in transmedia television, in questions of representation and diversity in television production, and in the complex relationships between producers and audiences in a digital participatory culture. In the United Kingdom, in the meantime, much scholarship has centered on particular historical “playwrights” in the mold of Dennis Potter, and the question of television authorship is bound up with questions of literary adaptation and high and low culture. Changes in modes of production of television globally are now opening up the field to broader interest in television writers and producers as authors, but research is still scarce.","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"17 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88659339","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":"AIDS in Film and Television","authors":"Kylo-Patrick R. Hart","doi":"10.1093/obo/9780199791286-0322","DOIUrl":"https://doi.org/10.1093/obo/9780199791286-0322","url":null,"abstract":"Representations of AIDS in film and television have differed throughout the world. Accordingly, this article focuses primarily on such representations in North America, with a particular emphasis on US media offerings and occasional references to related examples from other English-speaking countries. In the early 1980s, what eventually became known as AIDS (acquired immune deficiency syndrome) was initially labeled GRID (gay-related immune deficiency). As a result, the earliest representations of AIDS in television news programs focused almost exclusively on gay men, and shortly thereafter intravenous drug users, as “guilty villains” in the emergent AIDS crisis, with a visual emphasis on emaciated individuals covered with Kaposi’s sarcoma lesions. By 1985, independent films and documentaries pertaining to AIDS started to emerge, along with the NBC network’s first made-for-television movie about AIDS, An Early Frost. In 1987, AIDS began entering the plots of various prime-time television series. Most of these offerings continued to perpetuate understandings of AIDS as a gay disease, even into the early 1990s. As the decade of the 1980s gave way to the 1990s, the phenomenon of AIDS was increasingly being regarded as two distinct yet interrelated epidemics: HIV and AIDS. Some film and television offerings began shifting their focus away from gay men and intravenous drug users with AIDS toward children with AIDS and healthy individuals with “at-risk bodies” that required ongoing protection. In 1993, Hollywood’s first all-star movie about AIDS, Philadelphia, flipped the script by foregrounding Kaposi’s sarcoma lesions to generate substantial compassion, rather than cultural contempt, for a gay man with AIDS. The film’s contents, viewed by a wider general public than preceding works, effectively challenged AIDS discrimination. During the first half of the 1990s, a small number of noteworthy AIDS metaphor movies were made and released, and self-representation in AIDS documentaries became more common. In large part due to the availability of lifesaving antiretrovirals, which resulted in a cultural shift from large numbers of individuals dying from AIDS to large numbers living with HIV, representations of HIV/AIDS in film and television decreased substantially during the second half of the 1990s and throughout the first decade of the new millennium. Since then, there has been a growing representational interest in exploring the early history of AIDS, in offerings such as How to Survive a Plague (2012), Dallas Buyers Club (2013), and The Normal Heart (2014).","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81773823","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":"Colonial Educational Film","authors":"N. Chan","doi":"10.1093/obo/9780199791286-0319","DOIUrl":"https://doi.org/10.1093/obo/9780199791286-0319","url":null,"abstract":"The “colonial educational film” goes by many names. Recent scholarship in this emergent field has identified these films as “official film,” “official documentary,” “colonial documentary,” “empire film,” “colonial film,” and “imperial propaganda film,” among others. Crossing a variety of genres including dramatic, documentary, instructional, amateur, newsreels, travel, and ethnographic films, these films shared a common objective—they were films made by the state (or individuals and institutions associated with the state) that sought to teach audiences the fundamentals of good colonial citizenship. The sheer number of terms that have been used to reference this mode of cinema indicate the diversity of genre, address, and audience concerning cinemas of colonial education. For example, colonial educational films ranged from being fictional to nonfictional in format. The Griersonian mode of documentary filmmaking influenced a nonfictional style of colonial filmmaking that was later inherited by the film units of Britain’s colonies. Humanist in outlook and poetic in aesthetics with a strong ideological leaning toward narratives of progress and modernity, these films educated audiences both within and beyond the empire about the industries, natural resources, and cultural practices of colonial territories on the path to modernity. Other films, including many that were produced by the Malayan Film Unit in the 1950s, were scripted as dramatic and fictional narratives that featured both professional and nonprofessional local actors. Intended specifically for local nonwhite audiences, these latter films sought to educate people to adopt specific practices and beliefs on topics such as thrift, personal hygiene, and anticommunism. Indeed, many filmmakers adopted specific formal modes of address that accounted for perceived racial differences in visual literacy between European and non-European audiences. Colonial educational films in the colonies circulated to audiences via traveling mobile film units and were shown in nontheatrical settings—schools, community centers, cultural centers, churches, plantations, mines, and trade exhibitions. They would also often be screened in movie theatres along with dramatic feature films. Hence, while the emergent field of nontheatrical film is aligned with the work that is being done in colonial educational film, the former certainly cannot encompass the range of ways in which cinematic education would have been encountered in colonial contexts. It is moreover, a field that moves beyond colonial/postcolonial binarisms. For example, the Films Division of India emerged from colonial educational filmmaking practices that would later become part of the production of postcolonial and national visual culture. Whatever their form, these films invariably seek to present a vision of empire that speaks to its project of modernity and capitalist governmentality. In that sense, colonial filmmaking was more of a practice, or an agend","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"47 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76540009","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":"Martin Scorsese","authors":"Marc Raymond","doi":"10.1093/obo/9780199791286-0320","DOIUrl":"https://doi.org/10.1093/obo/9780199791286-0320","url":null,"abstract":"Martin Scorsese’s name has come to symbolize many broad ideas over the past few decades, to the point where he is no longer merely a filmmaker, but rather a cultural touchstone. He is associated with a particular religion (Catholicism), ethnicity (Italian), genre (gangsters), and time period (New Hollywood), while also being the foremost cinephile in American cinema, influencing whole generations in his wake. Consequently, the amount of writing on Scorsese is quite vast, and this bibliography will try to represent that variety while pointing readers to the best of this work. It is thus organized with a focus on Scorsese’s own scholarly contributions, interviews, career overviews, anthologies, major films, documentaries, and influence. There is a temptation to try to divide the work thematically, since so much of the writing centers around either religion, ethnicity, or masculinity, but doing so would risk perpetuating this overemphasis in the scholarship while also not representing the best writing on this important auteur. Thus, while certainly the work on Italian-Catholicism and masculinity will be frequent within the citations to come, they will not predominate among the selections taken as a whole. This bibliography also attempts to give some of the history of Scorsese scholarship itself, focusing on scholarly touchstones that tended to define particular historical moments and how Scorsese has been useful to particular critical approaches and/or arguments.","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"45 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72513629","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":"Planet of the Apes","authors":"De Witt Douglas Kilgore","doi":"10.1093/obo/9780199791286-0318","DOIUrl":"https://doi.org/10.1093/obo/9780199791286-0318","url":null,"abstract":"Planet of the Apes, directed by Franklin J. Schaffner, was released in April 1968 and became an unexpected commercial success with modest critical support. That success inspired four sequels, two television series, comic books, toys, video games, and other merchandise. Thus it inspired the almost organic evolution of producing and exploiting popular film in a new way: the cultural business model we now call the franchise. The Apes franchise advanced into the 21st century with a 2001 remake of the first film by Tim Burton, succeeded by a reboot trilogy that has benefited from advances in performance capture acting: Rise of the Planet of the Apes (directed by Rupert Wyatt, 2011), Dawn of the Planet of the Apes (directed by Matt Reeves, 2014), and War for the Planet of the Apes (directed by Matt Reeves, 2017). The source of the inaugural film is Pierre Boulle’s novel La Planéte des singes, a satire that tests the pretensions of Western (as human) civilization against the achievements of a futuristic society of intelligent apes. The motion picture reshapes Boulle’s scenario into an allegory for the sociopolitical concerns of 1960s America. Issues such as civil rights, racial conflict, cold war militarism, women’s roles, and the generation gap all have a place in its estranged diegesis. Planet of the Apes follows Taylor (Charlton Heston), an astronaut who lands on a planet that flips the order between human beings and sentient apes. He becomes a caged beast, denied the dignity of membership in a dominant species. Escaping captivity, he is shocked to find a half-buried Statue of Liberty. He is not on some distant planet but in the future of his own world. Written by Michael Wilson and Rod Serling, this fantastic adventure continues to engage cultural critics as a grim allegory of the inevitable wages of racial conflict. Its persistence in American culture seems due to the nation’s irresolution about race, white male identity, and national destiny. What began as a modest exercise in French colonial critique (Boulle) is now a global cinematic phenomenon that forecasts the end of human (as white, Western, and male) primacy and its displacement by either another mode of being or universal destruction.","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"88 23 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84073546","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 Young Pope: An Italian ‘celevision’ case study","authors":"Anna Manzato, A. Mascio","doi":"10.1386/JICMS.7.3.411_1","DOIUrl":"https://doi.org/10.1386/JICMS.7.3.411_1","url":null,"abstract":"","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"5 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88463324","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":"Paolo Sorrentino: A trans-cultural and post-national auteur","authors":"Annachiara Mariani","doi":"10.1386/JICMS.7.3.331_2","DOIUrl":"https://doi.org/10.1386/JICMS.7.3.331_2","url":null,"abstract":"","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"36 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82658591","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":"Against postmodernism: Paolo Sorrentino and the search for authenticity","authors":"M. Cangiano","doi":"10.1386/JICMS.7.3.339_1","DOIUrl":"https://doi.org/10.1386/JICMS.7.3.339_1","url":null,"abstract":"","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"31 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91173962","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":"Posthuman Sorrentino: Youth and The Great Beauty as ecocinema","authors":"Matteo Gilebbi","doi":"10.1386/JICMS.7.3.351_1","DOIUrl":"https://doi.org/10.1386/JICMS.7.3.351_1","url":null,"abstract":"","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"7 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78776154","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":"Paolo Sorrentino’s cinematic excess","authors":"L. Tuan","doi":"10.1386/JICMS.7.3.425_1","DOIUrl":"https://doi.org/10.1386/JICMS.7.3.425_1","url":null,"abstract":"","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"34 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78070571","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}