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

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/ uniud.it) 
<mailto:(lisa.parolo /at/ uniud.it)>; (diego.cavallotti /at/ uniud.it) 
<mailto:(diego.cavallotti /at/ uniud.it)>

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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