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[Commlist] cfp - Immagine, n. 20 - New Excavations: non-theatrical and non-broadcast heritage in Italy (1965-1995)

Thu Apr 18 05:45:26 GMT 2019

CALL FOR PAPERS Immagine, n. 20, (December 2019)

New Excavations: non-theatrical and non-broadcast heritage in Italy (1965-1995) Edited by Diego Cavallotti, Lisa Parolo

In the last decade, researches on amateur cinema and, more broadly, on those audiovisual productions not intended for theatrical release, have been focused on the development of a specific object of study, that is to say, the very concept of ‘non-theatrical’ (Streible, Roepke, Mebold 2007). From the publication of the special Film History (2007) curated by Streible, Roepke e Mebold, this notion has become a “semantic container” for different instances such as amateur films, home movies, educational films, useful films (see also Acland, Wasson 2011), industrial films and those underground, experimental and artistic films screened, for example, in exhibiting spaces, art galleries, cinema co-ops, classrooms, or in-home events (Streible, Roepke, Mebold 2007, 342). Nonetheless, while attempting to expand the concept’s range, its productiveness was neglected to be verified, especially concerning the “spaces of technological transition,” which characterized the last part of the XXth century.

In fact, if we focus on the transition period between film and video technologies – which started at the end of the Sixties and consolidated during the Eighties – the non-theatrical notion appears insufficient and lacking: it looks necessary to add a reference to the video-analogon of the non-theatrical, the non-broadcast. By using this concept, we mean to address the video production not intended for televisual transmission: narrowcast videos, experimental and artistic videos, amateur videos, home videos (in the double meaning of family video and home video editions of theatrical films), community videos, etc. A similar transition is further modified by the arrival of the digital video, and the beginning of a new phase of overlapping technological networks in the middle of the Nineties. Starting from this perspective, therefore, this call-for-papers aims to investigate these domains – the non-theatrical and the non-broadcast – within different production and consumption contexts, in the times comprised between the emergence of the analog video and that of the digital video: from home movies to cine-clubs (for example, in Italy, in 1982, FEDIC included analog video works in the official selection for the Montecatini Festival), from militant actions to social movements (for example, the Collettivo Cinema Militante of the Seventies), and finally to experimental audiovisual productions. In this regard, we invite submissions directed towards the following topics:

1) The historiographical approach towards non-theatrical, non-broadcast productions and their interrelations. 2) Non-theatrical and Non-broadcast: national maps and genealogies.
3) Non-theatrical and non-broadcast technologies and practices in Italy.
4) Non-theatrical and non-broadcast and the archive: new collections, new preservation frameworks.

5) The Italian society and the new technological networks: the transition towards “the video society.” 6) Productive and distributive structures for non-theatrical and non-broadcast in Italy.

Abstracts, either in Italian or English (max. 250 words) to be submitted no later than 25 April 2019 to: (lisa.parolo /at/ <mailto:(lisa.parolo /at/>; (diego.cavallotti /at/ <mailto:(diego.cavallotti /at/>

Notification of acceptance due by 5 May 2019.

Articles (5-6,000 words max.) can be submitted in Italian, French or English, by 26 August 2019. Final publication expected by December 2019.

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