[ecrea] CFP | Comunicazioni Sociali | The International Circulation of European Cinema in the Digital Age

** Call for Papers - Deadline for Abstracts FEBRUARY 15, 2018 **

CS - Journal of Media, Performing Arts and Cultural Studies, n. 3/2018

Special issue on: The International Circulation of European Cinema in 
the Digital Age

Editors: Damiano Garofalo (Università Cattolica di Milano), Dom Holdaway 
(Università di Bologna), Massimo Scaglioni (Università Cattolica di Milano)

**

Comunicazioni Sociali - Journal of Media, Performing Arts and Cultural 
Studies

Founded in 1973 and regularly published since 1979, CS was the first 
Italian journal on communication and media. CS adopts the double-blind 
peer review system and it is indexed in SCOPUS 
(http://comunicazionisociali.vitaepensiero.com/ 
<http://comunicazionisociali.vitaepensiero.com/>).

CS is edited by the Department of Communication and Performing Arts and 
the Graduate School of Media Communications and Performing Arts (ALMED) 
of Catholic University-Milan.​
​

 From a political-economic perspective, the global market is dominated 
still by major international cinemas: Hollywood in particular – whose 
major studios (20th Century Fox, Warner Bros., MGM, Sony) maintain 
control locally through national subsidiaries – but also Bollywood, 
Nollywood and the Chinese industry in certain regions. European 
productions, on the other hand, remain for the most part confined to 
national successes alone, with only few exceptions – such as Bienvenue 
chez les Ch’tis (Dany Boon 2008), The King’s Speech (Tom Hooper 2010) 
and, albeit to a lesser extent, Gomorra (Matteo Garrone 2008).

In the meantime, the influence of media convergence and the 
proliferation of digital platforms has demonstrated a series of content 
circulation strategies that differ to the classic windows of the 
distribution industry; strategies that have since become central to 
contemporary debates on film distribution. In academic studies, these 
mutations have contributed to broadening focus beyond theatrical 
distribution, in order to account for the circulation of films via 
alternative, formal or informal channels too (Tryon 2009; Iordanova and 
Cunningham 2012; Cunningham and Silver 2013). Some recent studies have 
emphasized in particular how contemporary research on film distribution 
can no longer exclude informal or non-linear circulation channels 
(Lobato 2012; Crisp 2015; Lobato and Thomas 2015).

With the aim of studying how this new technological context is changing 
current tendencies, and taking root in the “national interest research 
project” (PRIN 2015) on the international circulation of Italian cinema, 
the special issue No. 3/2018 will focus on the strategies and outcomes 
of European cinema distribution beyond national borders.

Proposals for the issue might address (but are not limited to) the 
following issues:

- ​
The international distribution and circulation of Italian cinema abroad: 
case studies
​-
The circulation of European cinema in specific (European, international) 
contexts, through quantitative or big data analysis
​- ​
The circulation of European cinema via international broadcasters and 
television channels
​- ​
The Circulation of European cinema on digital platforms and in informal 
contexts (piracy, streaming, etc.)
​- ​
The promotion and marketing of film products abroad
​- ​
The institutional promotion policies of national cultures through cinema 
(cultural institutes, universities, consulates, film festivals, etc.)
​- ​
New theoretical approaches and methodologies in distribution and 
circulation studies, applied to film


​*​
References
​*​


Crisp, V. 2015. Film Distribution in the Digital Age. Pirates and 
Professionals (London: Palgrave Macmillan)

Cunningham, S. and J. Silver (eds.). 2013. Screen Distribution and the 
New King-Kongs of the Online World (London: Palgrave MacMillan)

Iordanova, D. and S. Cunningham (eds.). 2012. Digital Disruption: Cinema 
Moves On-line (St Andrews: St Andrews Film Studies)

Lobato, R. 2012. Shadow Economies of Cinema (London: BFI, Palgrave)

Lobato, R. and J. Thomas. 2015. The Informal Media Economy (Cambridge 
and Malden: Polity Press)

Tryon, C. 2009. Reinventing Cinema: Movies in the Age of Media 
Convergence (New Brunswick, NJ: Rutgers University Press).



​*​
Deadlines and Guidelines
​*​


Please send your abstract and a short biographical note to 
(redazione.cs /at/ unicatt.it) <mailto:(redazione.cs /at/ unicatt.it)> and 
(damiano.garofalo /at/ unicatt.it) <mailto:(damiano.garofalo /at/ unicatt.it)> by 
February 15, 2018. Abstracts should be from 300 to 400 words of length 
(either in English or Italian). All notifications of acceptance will be 
emailed no later than March 1, 2017.

If the proposal is accepted, the author(s) will be asked to submit the 
full article by June 1, 2018. Articles should be between 4,000-5,000 
words in length (no more than 35,000 characters, spaces and notes 
included). Contributions will be sent to two reviewers in a double-blind 
procedure prior to the final publication decision.

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