[ecrea] CFP – To each their own pop. Music, cinema and television in Europe in the period of the youth movements (1960-1979)

_LAST CALL WITH EXTENDED DEADLINE_

CFP – *To each their own pop. Music, cinema and television in Europe in 
the period of the youth movements (1960-1979)*

Edited by Alessandro Bratus (Università degli Studi di Pavia), Massimo 
Locatelli (Università Cattolica del Sacro Cuore), Miguel Mera (City, 
University of London)

*Deadline for abstract proposal: February 20, 2018***

**

The scope of this issue is to gather papers related to a decisive period 
in the development of audiovisual media in contemporary Europe: *the 
60's and 70's* are linked with different patterns of  economic growth 
and consumption across different countries, but nevertheless related to 
the diffusion of television and the new technologies in the record 
industry, from both the point of view of production and reproduction. 
Such changes determined the emergence of new forms of *expression*, 
*media aggregation* and *consumption behaviors *with respect to the past.

On the *artistic front*, the period witnessed the pluralisation of 
popular culture as it became increasingly segmented in complex ways 
according to factors such as age, genre and social status, a phenomenon 
which led to a broadening of the horizons, places and use of cultural 
products. This is the period that marked the advent of a particularly 
complex relationship between pop, the popular and processes of 
generification, a relationship which impacted significantly also on the 
overall organisation of the media system as a whole.

In terms of *social aggregation*, the identification of communities, 
especially among the young, became based increasingly on participation 
in public events (whether political or cultural) which served as 
concrete manifestations of the tension towards lifestyles and needs 
which moved increasingly away from traditional cultural affiliations 
towards a broader, more transnational context. The more overtly 
political dimensions of the media output of the period came into play, 
with particular emphasis on the modes of popularisation of the 
countercultural and avant-garde trends typical of the era, foreshadowing 
their entering the cultural mainstream.

On the level of *production and consumption* of media technologies, the 
importance of such phenomena became the starting point for media 
narratives that found fruition in genres such as the live recording and 
the concert film; at the same time, the production of music specifically 
designed for other media became an established reality, with the 
introduction to the market of specific products dedicated to film music 
or with close links to television and radio broadcasts. In this sense 
there is a need for a more systematic approach to the historical and 
theoretical framework which sets out, in particular, from questions 
relating to the sound artefact and its social-technological dimension, 
the transformation of the soundscape, the change in the status of 
musicians, and media performance.**

*The special issue aims at being particularly open to comparative 
contributions*which highlight both the specific characteristics of the 
national contexts and the features that we might call the 
"mediatisation" of contemporary culture. We wish to draw out and explore 
some of the tensions between notions of the underground and mainstream, 
and the local, national, and international.

The essays can be focused on four specific points of intersection, with 
the aim of responding in full to the four main research objectives of 
the issue:

  * first and foremost, research into the industrial relationships
    between the various different sectors of national and international
    media production in those years, through the cataloguing and close
    examination of contractual conditions and, more generally, of the
    different formats used and of the sales, distribution and marketing
    strategies employed. In this area, the role of the song, the disc
    and the singers will probably prove pivotal, as the key to the trend
    towards the process of convergence on a single, easily recognisable
    product to be promoted in parallel in the various distribution
    channels of the audiovisual market;
  * secondly, there would seem to be a need to reconstruct the
    contribution and the professional expertise of the authors and
    technicians who worked in the various sectors – directors who were
    active in both cinema and television, composers who contributed to
    the diversification of the forms, as well as technicians and sound
    mixers – so as to shed new light on them and on their activities and
    to reconstruct the network of reciprocal relationships between them;
  * thirdly, on the basis of the above, it will be possible to renew and
    update the study and analysis of the audiovisual production of the
    period, reconstructing the intricate network ofgenres and authorial
    paths so as to reach an understanding of the configuration of styles
    that mark the period concerned. The same logic applies to the
    presence of parallel circuits of production, distribution and
    reception in the music and audiovisual fields, with phenomena such
    as singer-songwriters, groups and mainstream production acting as a
    counterpart to the production of songwriters, whether popular or in
    different genres;
  * lastly, it will be possible to work in the light of the information
    that has emerged in the recent inter-disciplinary debate surrounding
    the detailed, chronological redefinition of the relationship between
    the production chain of the audiovisual media industry and the music
    business. The field of music production may be understood as the
    first step in the modernisation of the national community, which
    finds one of its constitutive features not only in the mediatisation
    of cultural products (the possibility to reproduce both texts and
    performance) and in the new model of artistic collaboration that
    emerged (the group as a collective, creative entity), but also – and
    above all – in the new type of audience experience that was made
    possible through the development of new environments for sound and,
    more generally, for other media.

*Submission details*

Contributors are asked to submit an abstract (300-500 words, 5 keywords, 
and 5 bibliographical references) and a short biographical note (150 
words) to: (italianway2pop /at/ gmail.com) <mailto:(dallagas /at/ unive.it)>AND 
(submissions.cinemaetcie /at/ gmail.com) 
<mailto:(submissions.cinemaetcie /at/ gmail.com)>by *February 20, 2018*.

All notifications of acceptance will be sent no later than *March 15, 
2018*. After the notice of acceptance, 4,000 words essays will be 
required by *June 15, 2018*, then they will be subjected to peer review.


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