Edited by Rosa Barotsi, Gloria Dagnino and Carla Mereu Keating
In the last twenty years, increasing scholarly attention has been devoted to the screen industries as a workplace and as a site of institutional and individual cultural and creative practice (e.g., Deuze 2007; Mayer, Banks and Caldwell 2009; Hesmondhalgh and Baker 2010). Studies in this field have often centred on film, television and audiovisual media production (e.g., Caldwell 2008; Barra, Bonini and Splendore 2016; Comand and Venturini 2021), although forms of labour in circulation, promotion and reception of media texts have also attracted interest (e.g. Loist 2011; Grainge and Johnson 2015; Fanchi and Garofalo 2018; Treveri Gennari et al. 2020). Within these studies, a number of scholars have interrogated and utilised gender as an analytic category in order to expose and criticise unequal and divisive labour dynamics (e.g., Foster 1997; Gaines, Vatsal and Dall’Asta 2013-; Bell 2021). The gendered division of labour and the systematic exclusion of female-identifying professionals in the screen industries persistently emerge as global, transnational issues (e.g., Gledhill and Knight 2015; Hole, Jelača, Kaplan and Petro 2016; Liddy 2020). In Italy, pioneering studies on women’s labour in the audiovisual sector can be traced back to the 1970s (Bellumori 1972; Carrano 1977), but it is only in recent years that a gender perspective has been taken on more systematically, focusing on directors (e.g., Scarparo and Luciano 2010, 2013, 2020; Cantini 2013) as well as other above- and below-the-line professions (e.g., Dall’Asta 2008; Cardone and Fanchi 2011; Cardone, Jandelli and Tognolotti 2015; Buffoni 2018; Missero 2022).
Since 2013, the traditional monographic section of each issue of Comunicazioni Sociali has been supplemented by a miscellaneous section. The call for papers for the miscellaneous section is always open. Contributions will undergo the same double-blind peer-reviewing process of the monographic section. Since its inception, CS has been contributing on key debates of studies on theatre, cinema, radio, television, journalism, advertising and digital media. The journal has promoted a rigorous reflection on theory, history and critical analysis of media, communications and performance arts. It continues to be a fundamental voice within the debate on the more recent and controversial questions of communication (from ethics to anthropological design) drawing on theoretical reflection and historical analysis, as well as from the proceedings of empirical research.Continue >
“Cantautore” is a project that aims to reconsider the role and figure of the singer-songwriter in Italian and international culture.
The singer-songwriter is a mythical figure in popular imagination in different countries, a bridge between a variety and even contradictory forms of experience, both cultural and social. In the Italian context, it has been respectively interpreted in social history as a symptom of collective traumas (Bonanno 2009, Santoro 2010), and in popular music studies as a successful pop icon (Gentile 1979, Borgna 1995-2004), or as a genre (Fabbri, 1982) and – consequently - as an ideological construction (Tomatis, 2019). Only recently, has the transnational dimension of this phenomenon been stressed out and problematized further (Green and Marc 2013, Looseley 2013, Marc 2016).
In the last twenty years, the relationship between media production and places has been a key topic in the field of media studies. Despite that, in the post-lockdown world this relationship still needs to be properly investigated since nowadays it embodies new meanings that invite media scholars to redefine their understanding of how media may serve and/or impact places and vice versa.
It is widely known that film and audiovisual shoots can have a positive impact on the host location economy: more tax revenues, new employment and facilities, etc. Sometimes, film and audiovisual products stimulate tourism too, which implies once again economic benefits. In both cases, they feed local pride and contribute to re-define the image and status of the host places. In the framework of the post-pandemic recovery, these two capabilities are receiving even more attention than in the past: tourism, for instance, was one of the sectors that suffered most due to the health emergency, and its relaunch is at the top of the agenda of many public institutions. Thus, the current scenario moves film and audiovisual production at the center of the action plans for the post-pandemic economy and society. However, all the current recovery policies base themselves on the concept of sustainability, and this raises the question how film and audiovisual production meet the concept of sustainability.
Migration has been a phenomenon throughout human history. However, as a result of economic hardship, conflict and globalization, the number of people now living outside their country of birth is higher than ever. It has also become a key focul point for the media. Even though irregular immigration constitutes only a minor part of the total immigrant population in the EU, it is the one most spectacularized by the media. This over-mediatization of the phenomenon leads to a consistent discrepancy between the perception and the reality of the issue, and this distance has favored the shift of migration issues from ‘low politics’ to ‘high politics’, fueling an emergency management and a securitarian approach.Continue >
Slowly but surely, arts-based research is making its entry into Communication and Media Studies, moving away from a rather exclusive focus on written texts and oral presentations. This special issue is driven by the belief that still more could be done at the level of theorizing arts-based research practices, and at the level of deploying them in different contexts. The aim of this special issue is to further stimulate the discussion on this topic, bringing together a diversity of voices, formats and approaches.Continue >
Theatre, in its multiple forms of production – which is why we will use, hereafter, the word “theatres” in the plural, has always been an expression of the relationship between civic society, political power, and the way in which people express themselves through individual and collective performances. Thus, from the very beginning, theatres have been considered an art available to the community with the three possible functions of acceptance of the status quo, protest against existing regimes, and entertainment. At some turns in history, theatrical performances have even taken on explicit political stances of protest and criticism, or propaganda and consensus-building, reaching sometimes forms of outright militancy by affiliation to parties or forms of government (Ponte di Pino 1996, Dalla Palma 2001, Kershaw 2002, Ferrarotti 2007, Rancière 2008, Casi and Di Gioia 2012, Mango 2012, Badiou 2015, Bernardi 2015, Eckersall and Grehan 2019, De Marinis 2020, Hamidi-Kim 2014 and 2020). Moreover, if we assume, as we propose, a broad and performative notion of theatre practices (Schechner 2018), that includes games, feasts, celebrations, street demonstrations, happenings, performances in public spaces and events, then the connections between performing arts and practices (on one side) and politics (on the other) become all the more numerous. In this perspective, theatres are an intermediate process of interaction between representative and delegated power systems and their delegating subjects. A veritable media that has helped both parts of the power relationship, in spite of the complexities encountered, to shape the dynamics of collective well-being.Continue >
In recent decades, digital communication and sustainability have become central topics in the global public discourse. Since the Nineties, debates about the role of computer-mediated communication in forming opinions and about human activity’s impact on the environment have been rising. “Mediatisation” of the modern society enhanced the importance of studying social processes’ communicational aspects, such as environmental sustainability’s management. In the West, in fact, after World War II mass media have become more and more instrumental to the creation of an environmental awareness conceptualising the environment as we understand it today.Continue >
CHIARA GIACCARDI, JÉRÔME BOURDON, NICO CARPENTIER, KIRSTEN DROTNER, DANA RENGA and ANDREA VIRGINÁS reflect on the current Coronavirus-induced crisis in search for sociological solutions to the political, social and economical changes that we are experiencing.Continue >
Roundtable organised by the journal's editorial and scientific committee. Text of the roundtable will constitute a paper in the next issue of Comunicazioni Sociali (2/20).Continue >
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Towards the Platformization of (Social) Media Memory: Articulating Archive, Assemblage, and Ephemerality
COMUNICAZIONI SOCIALI - 2021 - 3. Theatres and Politics Today Lights and Shadows of a Long Relationship
COMUNICAZIONI SOCIALI - 2021 - 2