Archive for 2022

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[Commlist] cfp Transatlantic Visions: Italian Film Culture and Modernism in Post-War America

Fri Jun 03 11:57:09 GMT 2022






We wish to inform you about the conference we are organizing in November at Roma Tre about:

/Transatlantic Visions: Italian Film Culture and Modernism in Post-War America/.

The call can be found here: https://www.consultacinema.org/2022/05/24/transatlantic-visions-italian-film-cultures-and-modernisms-in-post-war-america-1949-1972/

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Throughout the twentieth century, Italian cinematography played an important role in the U.S. consumer system. Indeed, cinema has been one of the privileged vectors for the success of the “Made in Italy”, as well as an indispensable element of the material and discursive construction of Italian style. To what extent, and within what limits, can we speak of an Italianization of U.S. art and entertainment after World War II? In how many ways and areas is it possible to measure the significance of this exchange dynamic, despite the imbalances between the two cultures and industries? The conference Transatlantic Visions: Italian Film Cultures and Modernisms in Post-War America (1949-1972) focuses on the presence of Italian cinema in post-World War II U.S. cultural consumption. Its aim is to map the transatlantic exchanges that permitted or fostered the circulation and influence of Italian cinema in the United States in various ways during the period under consideration. In this light, cinema is considered both as an object that circulates and as a vector for the diffusion of lifestyles and imaginaries; its impact on middle- class, working-class, and popular cultural consumption is also examined. Thus, the conference seeks to investigate the cultural forms that landed in the United States from Italy on various fronts and under several respects, particularly with regard to lifestyles, authorial practices, and entrepreneurial cultures. From these perspectives, the conference aims to explore the general hypothesis of the research project Transatlantic Transfers: The Italian Presence in Post-war America, according to which the impact of the so- called Italian style—that is, a peculiarly modern and recognizable style associated with cultural products made in Italy—marked the cultural exchanges between Italy and the U.S. during the 1950s and 1960s, establishing itself as a distinctive sign in the identity formation of an affluent and cosmopolitan American middle class. Scholars are invited to submit contributions on Italian–U.S. film culture and industry from a variety of disciplinary and methodological perspectives. A few examples are offered below; these are for illustrative purposes only,
1	and are not meant as an exhaustive list.





→	Made in Italy and lifestyles
The impact of national productions and Italy–U.S. co-productions/partnerships in the creation and reception of traditional or modern Italian imaginaries, structures of feeling, and lifestyles. These may be conveyed, for example, by the natural and urban landscape, fashion and design, genres, and stardom. We especially encourage contributions concerning the following: - phenomena or discourses related to the construction of Italian identity articulated via ethnicity, class, or gender and linked to Italian and Italian American cinema and stardom; - paths of valorization of Italian cinematic-style spread in high-circulation illustrated magazines and other media iconographies (e.g., advertising or editorial pieces); - explicit or implicit collaborations between cinema and Italian food and wine, the automotive industry, fashion, and design brands.
→	Italian style and cinema as modern art
The establishment of postwar Italian cinema in the United States in terms of the visual and narrative styles, imaginaries, and cultural practices connected with it through both distribution in U.S. art houses and circulation of public discourse via various media. In this regard, for example, we recommend proposals that investigate the following: - Italian arthouse cinema and its circulation practices in the U.S.; the American reception of the director's image as a star or artist; relationships between Italian film genres and arthouse cinema; - distribution practices within the arthouse circuit and transatlantic dialogues between institutions and connecting figures; - critical and academic discourses circulated in critical and industry journals and in public intellectual debate (e.g., in U.S. media, such as photography, radio, or television) that helped construct the imaginary of Italian-style cinema.
→	Transatlantic circulation networks
The involvement of Italian business culture in the production,
distribution, and reception of Italian cinema in the United States, from the system of the so-called Hollywood on the Tiber to commercial and cultural promotions by institutions, entities, and companies in different spheres (e.g., diplomatic, economic, media, and interpersonal). In this regard, for instance, interesting proposals could examine the following topics: - production models and collaboration cases that exemplify a modern Italian business culture in relation to individuals, companies, and international networks in support of the propagation of Italian cinema in the United States; - production of and cultural events related to specific Italian films, from conception to financing, from distribution to reception in the United States during the period under consideration; and
-	discourses of promotion and enhancement of Italian cinema through U.S.
2	critical or trade journals.
















Save the Dates
→ July 18, 2022	: Abstract submission

→ July 25, 2022	: Notification of acceptance
→ Novembre 9-11, 2022	: Conference




Evaluation Process
Submissions containing a title, an abstract of up to 500 words, five keywords, and a brief author(s) biography should be sent in a Word document by July 18, 2022, to (transatlantic.visions /at/ uniroma3.it). Notification of acceptance will be given by July 25, 2022. The conference will open on November 9, 2022, and paper presentations will be held on November 10–11 at the Palladium Theater, Roma Tre University. A small number of selected contributions will be edited and published in proceedings. Organizers: Enrico Carocci, Ilaria A. De Pascalis, Veronica Pravadelli (Department of Philosophy, Communication and Performing Arts – Roma Tre University).
Conference Website: transatlantic.visions.uniroma3.it




The research project Transatlantic Transfers: The Italian Presence in Post- war America (1949–1971) was developed by the University Roma Tre, together with the Polytechnic University of Milan (national lead), the University of Gastronomic Sciences of Pollenzo, and the University of Eastern Piedmont. Project website: transatlantictransfers.polimi.it

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