[Commlist] CFC: Perfect Adaptations. Perfetti sconosciuti (2016) Between Remake, Translation, Adaptation and Tradaptation

*Call for Book Chapters for an Edited Volume*

*Perfect Adaptations.*

*/Perfetti sconosciuti /**(2016)//Between Remake, Translation, 
Adaptation and Tradaptation*

**

*Co-Editors*

**

*Gianluca Fantoni **(Nottingham Trent University)***

* Armando Rotondi **(Institute of the Arts Barcelona)***

In a piece that appeared on /Cinecittà News/ on 8 January 2023, Laura 
Zangarini emphasised how the 2016 Paolo Genovese’s /Perfetti 
sconosciuti/ (/Perfect Strangers/) had shattered all records by becoming 
the film with the most remakes in history: “the Icelandic adaptation was 
made available on Netflix on 6 January, and a Danish version has been 
announced. /Perfect Strangers/, however, is already available in Greek, 
Spanish […], Turkish, Indian, Mexican, French, Armenian, Russian, and 
Hungarian”. In the conclusion of her article, Zangarini pondered: “What 
made /Perfect Strangers/ a global phenomenon?”. Just a few days before, 
an article published in /The Economist/ headlined “Why an Italian Film 
Has Become a Valuable Piece of Intellectual Property”. It tried to 
account for the transnational success of Paolo Genovese’s film by 
briefly discussing the producers’ inescapable interest in a movie that 
can be produced with practically any available budget, from very low to 
very high, as well as the subject’s cultural ubiquity and its easily 
adaptable plot.

By analysing the various adaptations of Genovese's film and discussing 
them both independently (i.e. in connection to the national context in 
which they were produced) and in comparison to the original version, the 
“Perfect Adaptations” project seeks to provide answers to the questions 
above.

The outcome will be an edited volume curated by Gianluca Fantoni and 
Armando Rotondi, published by Intellect in the book series /Trajectories 
of Italian Cinema and Media/, edited by Flavia Laviosa 
(https://www.intellectbooks.com/trajectories-of-italian-cinema-and-media 
<https://www.intellectbooks.com/trajectories-of-italian-cinema-and-media>)

Contributions may be devoted to a particular remake or version 
of/Perfetti sconosciuti/, to numerous versions studied concurrently, or 
to general reflections on the script and narrative structure of the 
movie. Authors may choose to examine the film and its many adaptations 
using a variety of approaches, including but not limited to film 
studies. In fact, we welcome contributions by scholars in different 
fields engaging with the film from different perspectives:

-E.g. Hutcheon’s Theory of Adaptation


    -Tradaptation (E.g. Fortier)


    -Scriptwriting


    -Cultural studies


    -Sociological approaches to the film’s plot

-Interlingual translation and full translation applied to cinema

-Stagingnarrative recontextualization and character development in the 
target culture

-Audience and critical reception of a specific version of /Perfetti 
sconosciuti/

We are looking for contributions of around 7,000 words. The edited 
volume will be complemented by interviews with the writers of the 
original Italian version of the film: Filippo Bologna, Fabio Costella 
and Paolo Genovese (also the film’s director).

We welcome contributions in the form of interviews with writers, 
directors and producers of the film’s many adaptations.

Interested authors are invited to submit an abstract of their proposed 
contribution (maximum 400 words), along with a brief biographical note 
(maximum 150 words), including academic title and affiliation and 
contact details, to:

(perfectadaptationsproject /at/ gmail.com) 
<mailto:(perfectadaptationsproject /at/ gmail.com)>

Deadline for abstract submission: 15 December 2024.

Notification of accepted abstracts will be communicated by 15 January 2025.

Submission of the complete contribution (maximum 7,000 words) is due by 
15 June 2025.

Please note that both abstracts and full contributions must be submitted 
in English.

These are the existing adaptions of /Perfetti sconosciuti/:

1.Greece – /Teleioi ksenoi/ (Τέλειοιξένοι) (2016)

2.Spain – /Perfectos desconocidos/ (2017)

3.Turkey – /Cebimdeki Yabanci/ (2018)

4.India – /Loudspeaker/ (2018)

5.Belgium/France – /Le jeu/ (2018)

6.South Korea – /Intimate Strangers/ (2018)

7.Hungary – /Búék/ (2018)

8.Mexico – /Perfectos Desconocidos/ (2018)

9.China – /Kill Mobile/ (2018)

10.Russia – /Gromkaja svjaz'/ (Громкая связь) (2019)

11.Armenia – /An Unknown Subscriber/ (2019)

12.Poland – /(Nie)znajomi /(2019)

13.Germany – /Das perfekte Geheimnis /(2019)

14.Vietnam – /Tiệc trăng máu (Blood Moon Party/) (2020)

15.Japan – おとなの事情スマホをのぞいたら(/Adult's Situation/) (2021)

16.Romania – /Complet Necunoscuți/ (2021)

17.Netherlands – /Alles op tafel/ (2021)

18.Israel – /Zarim Mushlamim /(זריםמושלמים) (2021)

19.Czech Republic/Slovakia – /Známi neznámi/ (2021)

20.United Arab Emirates/Egypt/Lebanon – /Messaggi e segreti/ (2022)

21.Norway – /Full Dekning /(2022)

22.Indonesia – /Perfect Strangers/ (2022)

23.Azerbaijan 
<https://www.google.com/search?sca_esv=6fb316b76142e146&rlz=1C1GCEB_enUS1050US1050&q=23.+Azerbaijan&sa=X&ved=2ahUKEwiopuOP9ZyJAxV9lYkEHRSYIdMQ7xYoAHoECAoQAQ>– 
/Geri Dönənlər /(2022)

24.Iceland – /Villibráð/ (2023)

25.Denmark – /Hygge!/ (2023)

26.India – /Khel Khel Mein/ (2024 - Official Remake)

27.Finland – /Tuntemattomat/ (In production)

**

**

*Gianluca Fantoni*is a historian specializing in the public use of 
history and on the relationship between cinema and history. He has 
published extensively in prestigious journals, including /Contemporary 
European History/ and /Modern Italy/. His recent works include /Italy 
Through the Red Lens: Italian Politics and Society in Communist 
Propaganda Films (1946-79)/ (Palgrave, 2021), and articles such as “The 
Revolution Will Be Televised: The Italian Communist Party, Public 
Television Broadcasting and the ‘Free Television’ Experiment” (2022), 
and “Representations of ‘Italian Populism’ in Films” (2022).

*Armando Rotondi*is a Full Professor and leads the MA in Creative 
Performance Practice at the Institute of the Arts Barcelona (validated 
by Liverpool John Moores University). He is a Film Studies researcher in 
the ‘Screening Social Changes’ project at Babeș-Bolyai University, 
Romania. He has worked across the UK, Spain, Italy, Poland, Romania, 
Germany, and Slovakia. Rotondi serves on the executive committee of the 
European Association for the Study of Theatre and Performance, among 
other roles on various editorial and scientific boards. He is author of 
several academic publications including: 11 authored/edited books; more 
than 50 book chapters and articles in peer-reviewed journals; more than 
50 papers at international conferences; 4 keynote papers.



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