Call for Papers: Journal of Italian Cinema & Media Studies

Italian Cinema in the World

Translational and transnational directions of Italian cinema
Themed Issues  
Journal of Italian Cinema and Media Studies
New DEADLINE:  31 March 2015
At the awards ceremony of the 71st edition of the Venice Film Festival, on 6 September 2014, Swedish director Roy Andersson, winner of the Golden Lion for Best Film for A Pigeon Sat on a Branch Reflecting on Existence, said in his acceptance speech that Italian films — especially Vittorio De Sica’s neorealist masterpiece Bicycle Thieves — had a major impact on him. ‘You have such a fantastic film history,’ he told his Italian hosts. ‘And I know that in Italy you have taste.’
Wang Xiaoshuai (Beijing Bicycles), leading figure of the sixth generation of directors in China, and whose new thriller Chuangru zhe/Red Amnesia was selected in the competition for the 71st Venice Festival, declared during the event ‘ANICA meets China: The Dragon and the Butterfly. How Italian cinema can cooperate with China’, on 3 September 2014, the strong influence of Italian cinema on his work and how he was profoundly moved when visiting the places where Fellini shot 8 ½.
Italian cinema is translational, transnational and rhizomatic. It is imported and exported, transferred, translated, adopted, adapted and re-interpreted. It is also both European and Mediterranean, moves in many other less-explored directions towards Nollywood, Bollywood and constantly intersects with other cinemas.

Consequently, new trends in Italian film studies address cinema reflecting a multiethnic Italy, a nation interconnected with other continents, and open up a neglected seam: the influence of Italian cinema on world cinemas, Italophone filmmakers and diasporic cinemas. Within such transnational framework, scholars are invited to engage in a methodological tension between studying national cinema and transnational critical approaches to Italian cinema, thus recovering these overlooked connections and re-composing them in a historic and aesthetic map, marked by cross-national dialogues and trans-generational exchanges.

Italian cinema today can be viewed as a geo-cultural and spatio-temporal bridge for the multidirectional routes connecting the tempestuous coalescence of cultures and a landing stage setting the dramaturgy of the galloping change of the world ethnic-socio-economic make-up, and artistic fabric. Against such a dynamic backdrop of events and in light of the historical and artistic influence of Italian cinema on world cinemas, the Journal of Italian Cinema and Media Studies inaugurated a transnational direction in Italian film studies publishing two themed issues (Volume II: 1 and 3, 2014;,id=215/) examining specifically the intersections between Italian and Chinese/Asian cinemas.

JICMS intends to focus on the rising role that Italian cinema plays in the world arena, as well as on cooperation opportunities between Italian and foreign film industries. With this CFP, the Editor aims to shift the critical paradigm outside the inwardly focused field of Italian film studies and invites contributions that would further (1) explore the influence of Italian cinema on world cinemas; and (2) investigate how it reaches beyond the imagined boundaries of its (pen)insularity.

Abstracts should be sent to the Editor, Flavia Laviosa by 31 March 2015, and should include the following information:

1)      A 500-word abstract outlining:
a) The topic
b) Critical approach
c) Theoretical bases of the proposed article.

The abstract should clearly state the goals of the article and provide a cohesive description of the objective of the argument. In addition to a 500-word abstract, authors should send:
2) Relevant bibliography and filmography
3) 200-word biographical notes followed by a detailed list of their academic publications

4) The date of submission of the article, if the proposal is accepted, will be within 10 weeks from the official invitation to submit the article.

Posted by Eden Joseph at 17:09 (0) comments
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