Cinergie – Il Cinema e le altre Arti <strong>Cinergie – ISSN 2280-9481</strong> is an open-access, peer-reviewed, class-A journal. Its first on-line issue first appeared in 2012, but the journal has been published in hard copy since 1999. Cinergie is a wide-ranging film journal, that aims to publish original articles about national and international cinema, building a bridge to related fields. Dipartimento di Scienze per la Qualità della vita (QuVi) - Università di Bologna en-US Cinergie – Il Cinema e le altre Arti 2280-9481 <p>The copyrights of all the texts on this journal belong to the respective authors without restrictions.</p><div><a href="" rel="license"><img src="" alt="Creative Commons License" /></a></div><p>This journal is licensed under a <a href="" rel="license">Creative Commons Attribution 4.0 International License</a> (<a href="">full legal code</a>). <br /> See also our <a href="/about/editorialPolicies#openAccessPolicy">Open Access Policy</a>.</p> Corrigendum: Paola Brembilla, Lucio Spaziante, <em>Challenges of Transgression and New Boundaries of the Visible, from the U.S. to Italy: The Cases of</em> The Deuce <em>and</em> The End of the F***ing World Paola Brembilla Lucio Spaziante Copyright (c) 2020 Paola Brembilla, Lucio Spaziante 2020-12-28 2020-12-28 18 243 243 10.6092/issn.2280-9481/11494 Corrigendum: Cecilia Järdemar, <em>Les Archives Suédoise: An Intercultural Collaboration Around a Colonial Pile of Glass-plate Negatives</em> Cecilia Järdemar Copyright (c) 2020 Cecilia Järdemar 2020-12-28 2020-12-28 18 245 245 10.6092/issn.2280-9481/11531 Ancora spettatori. Mario Tirino, <em>Postspettatorialità. L'esperienza del cinema nell'era digitale</em>, Meltemi, Milano 2020 Alberto Brodesco Copyright (c) 2020 Alberto Brodesco 2020-12-28 2020-12-28 18 209 210 10.6092/issn.2280-9481/11901 Note sulla videoarte contemporanea. Milo Adami, <em>La forma video. Tra cinema e arti visive dopo il digitale</em>, Postmedia Books, Milano 2020 Valentino Catricalà Copyright (c) 2020 Valentino Catricalà 2020-12-28 2020-12-28 18 211 213 10.6092/issn.2280-9481/11900 L’immagine materia. Bernd Herzogenrath (ed.), <em>The Films of Bill Morrison. Aesthetics of the Archive</em>, Amsterdam University Press, Amsterdam 2018 Sonia Colavita Copyright (c) 2020 Sonia Colavita 2020-12-28 2020-12-28 18 215 217 10.6092/issn.2280-9481/11894 Una continua transizione. Sandra Lischi, <em>La lezione della videoarte. Sguardi e percorsi</em>, Carocci, Roma 2019 Francesco Federici Copyright (c) 2020 Francesco Federici 2020-12-28 2020-12-28 18 219 221 10.6092/issn.2280-9481/11893 Uomini appassionati di un cartone per bambine. Francesco Toniolo, <em>Il mondo dei Brony. Indagine sul fandom di My Little Pony</em>, Paguro, Salerno 2019 Stefano Giovannini Copyright (c) 2020 Stefano Giovannini 2020-12-28 2020-12-28 18 223 225 10.6092/issn.2280-9481/11895 Orientamenti e funzioni della scena tecnologica. Anna Maria Monteverdi, <em>Leggere uno spettacolo multimediale. La nuova scena tra video mapping, interaction design e Intelligenza Artificiale</em>, Dino Audino Editore, Roma 2020 Doriana Legge Copyright (c) 2020 Doriana Legge 2020-12-28 2020-12-28 18 227 229 10.6092/issn.2280-9481/11897 Intrecci tra media italiani e teorie queer. Sergio Rigoletto, <em>Le norme traviate. Saggi sul genere e sulla sessualità nel cinema e nella televisione italiana</em>, Meltemi, Milano 2020 Dalila Missero Copyright (c) 2020 Dalila Missero 2020-12-28 2020-12-28 18 231 232 10.6092/issn.2280-9481/11896 I percorsi del maschile. <em>Ciao Maschio. Politiche di rappresentazione del corpo maschile nel Novecento</em>. A cura di Giacomo Albert, Giulia Carluccio, Giulia Muggeo, Antonio Pizzo Rosenberg & Sellier, Torino 2020 Giuseppe Previtali Copyright (c) 2020 Giuseppe Previtali 2020-12-28 2020-12-28 18 233 235 10.6092/issn.2280-9481/11898 Venezia 77. Fuori Concorso. Viaggio in Italia tra passato e futuro Dorothea Burato Copyright (c) 2020 Dorothea Burato 2020-12-28 2020-12-28 18 237 238 10.6092/issn.2280-9481/11890 <em>Dieci anni di Sicilia Queer</em>. Sicilia Queer 2020 International New Visions Filmfest Marco Grifò Copyright (c) 2020 Marco Grifò 2020-12-28 2020-12-28 18 239 241 10.6092/issn.2280-9481/11899 Intermedial Possibilities of the Song-form Between Cinema, Writing, Performance and New Media. The Case of Claudio Baglioni <p>This paper, starting from the notions of intermediality and remediation, explores the relationship between the song-form and other media, in particular cinema, a medium impregnated with intersemiotic translations. In the introduction the author rebuilds the studies between song-form and cinema, mainly focusing on the Italian territory, where cinema and song concurred to create an intermedial imaginary. The paper continues with the analysis of the case-study of the Roman singer-songwriter Claudio Baglioni (1951), investigating the levels of intermediality within his work from different perspectives. Finally, the author states that the intermediality in Baglioni’s works is present at three levels: medial, structural and contextual level. The song-form, thanks to these intermedial levels, broadens its expressive possibilities, concerning the intersection with cinema particularly. Thus, cinema and the other media, at least in Italy, have become a valuable resource for other songwriters. According to Baglioni’s philosophy, intermediality becomes a precious element to configure the style of an individual songwriter.</p> Luca Bertoloni Copyright (c) 2020 Luca Bertoloni 2020-12-28 2020-12-28 18 117 129 10.6092/issn.2280-9481/11525 Towards a Cinema of Absence: Sato Makoto in the Japanese and International Context <p>This paper explores the last three documentaries made by Japanese filmmaker Sato Makoto before his early death in 2007. <em>Self and Others</em> (2000), <em>Memories of Agano</em> (2004), and <em>Out of Place: Memories of Edward Said</em> (2005). They are not only a prime example of his uniqueness in the recent history of Japanese cinema, but also a triptych that, albeit in retrospect, could put Sato on the international documentary map and give him the rightful place in the history of cinema. This is at least one of the goals of this essay. These works also reflect and partially crystallize some of the main developments undertaken by Japanese documentary in the last fifty years. In addition, I analyze how Sato was also a very “international” documentarian: Curious and aware of what was going on in the documentary scene around the world and always open to exploring and charting new territories, as he was also a theorist who authored some very important volumes on nonfiction cinema, his last movies have an essayistic and experimental quality that bears a close affinity to the works of Chris Marker and Trinh T. Minh-ha. </p> Matteo Boscarol Copyright (c) 2020 Matteo Boscarol 2020-12-28 2020-12-28 18 131 145 10.6092/issn.2280-9481/10027 Striking the Heart of Information: Criticism and Artistic Practice for a Correct Militant Use of the Videotape <p>This article delves into the "militant" use of videotapes in the 1970s. Starting from the intuitions of Pio Baldelli, who promoted the use of this tool as an element capable of creating a "counter-information" communication practice, we analyze the intellectual position that Roberto Faenza had towards videotape. As Faenza claimed in his text <em>Senza chiedere permesso. Come rivoluzionare l’informazione</em>, through videotapes it was possible to create not merely a practice of counter-information - as it was for Baldelli - but a more ferocious practice of informational antagonism, going beyond the duality of theory and practice of the information world. These theses will then be applied, as a specific case study, to the artistic work of the Laboratorio di Comunicazione Militante, which used the videotape both to create an alternative sociality to institutional artistic practices - in this case, the exhibition <em>Ambiente come sociale</em> of the Venetian Biennale of 1976 is analyzed - and as an element to create confusion in the logic of everyday information.</p> Andrea Capriolo Copyright (c) 2020 andrea capriolo 2020-12-28 2020-12-28 18 147 160 10.6092/issn.2280-9481/9834 The Football Simulation: the Case of FIFA <p>The <em>FIFA</em> series occupies an important position in the panorama of football-themed sports video games. Over the years, the Californian company EA Sports has expanded the ludic offerings of its series, including an increasing number of licenses with players and teams from all over the world, technically perfecting the audio-visual apparatus and adding various game modes to give users a simulation more and more like real football. The simulation concept is also the main theme of this essay: based on the insights of important exponents in the academic field of game studies and beyond (such as Gonzalo Frasca, Aki Jarvinen, Gianfranco Pecchinenda, Seth Giddings and others), the article will focus on simulation within the video games of the <em>FIFA</em> series and will identify three possible declinations: the techno-ludic simulation, the receptive simulation and the temporal simulation. The essay aims to demonstrate that these declinations, although linked to different semantic cores, are concretely related to offer a playful, receptive and socio-cultural experience parallel to that of real football. The union of the aforementioned declinations will lead in conclusion to the precise definition of football simulation.</p> Matteo Genovesi Copyright (c) 2020 Matteo Genovesi 2020-12-28 2020-12-28 18 161 175 10.6092/issn.2280-9481/10644 The Cineguf and the Memory of Fascism (1944-1976) <p><em>The Cineguf and the Memory of Fascism (1944-1976)</em> wants to get deeper into the complex metabolisation of the traces of the fascist past, for some of the protagonists of the Cineguf era. The article discusses the way some Cineguf members elaborated upon their own experience into the Cineguf groups - a fascist association of amateur film clubs - and how the social and generational developments regarding the film culture impacted onto this cultural and political metabolisation, in post-war Italy. The article proposes to question the various forms of "silence" that characterizes the archival survival of the films produced by the Cineguf and the narratives of the history of the Cineguf as well.</p> Andrea Mariani Copyright (c) 2020 Andrea Mariani 2020-12-28 2020-12-28 18 177 191 10.6092/issn.2280-9481/10643 “I am what I am. I am my own special creation”. The trans-genre soundtrack of <em>Paris Is Burning</em> <p>The purpose of this essay is to highlight and comment on the importance of musical presence within Jennie Livingston's documentary film <em>Paris is Burning</em> (1990), a pivotal film of the cinematographic moment of New Queer Cinema. Despite multiple analyses, from Judith Butler in<em> Bodies That Matters</em> (1993) to Peggy Phelan in <em>Unmarked: The Politics of Performance</em> (1996), there is a lack of literature regarding the narrative, performative and resilient potential of its soundtrack. The essay proposes a new methodological approach by presenting, following a brief historical framework, the audiovisual analysis of three thematic nuclei. The first object of study is the resilience of the pre-existing songs that compile the<em> Paris Is Burning</em> soundtrack, both for their trans-genre nature and for the high number of beats per minute that distinguishes them. Subsequently, a spatial and sound tripartition is proposed which initially diversifies the collective queer minority environments from the heteronormal, cis-gender, collective ones and afterward from the individual queer ones; also determining how Realness compare itself with urban and sound spatiality. Moreover, a new suggestion about the bequest of Paris is Burning on a cinematographic, musical and performative level has been pointed out.</p> Costanza Rovetta Copyright (c) 2020 Costanza Rovetta 2020-12-28 2020-12-28 18 193 207 10.6092/issn.2280-9481/10408 Global Italy: Transmedia Representations of Italianness Giuliana Benvenuti Giacomo Manzoli Rita Monticelli Copyright (c) 2020 Marco Zilioli, Giacomo Manzoli , Rita Monticelli 2020-12-28 2020-12-28 18 1 6 10.6092/issn.2280-9481/11974 The Brand Italy in the Age of On-Line Reproduction <p>The essay looks at the production, distribution, and consumption of the Italian novel in the global editorial market in the context of what Mark McGurl has called “the age of Amazon.” By drawing from studies on so-called “platform capitalism,” but also from those concerning the restructuring of the editorial market, the essay considers the increasing importance of branding, and in particular of national brands, in the editorial policies of the last two decades.</p> Roberto Dainotto Copyright (c) 2020 Roberto Dainotto 2020-12-28 2020-12-28 18 7 15 10.6092/issn.2280-9481/10910 <em>Made in Italy</em>: The international Circulation of Italian Film and Series and the Role of Pay TV <p>The international circulation of audiovisuals, films and TV series constitutes an important field of research, especially in the European context, historically characterized by a limited ability of cultural and media products to cross national borders and obtain success in other non-national markets. Italy suffers from a traditional difficulty in exporting its media content, with the exception of films that manage to earn a kind of “prestige value” thanks particularly to festivals and awards (such as the Oscars), and a few other exceptions. During the 2000s, however, and in particular in the last decade, there were signs of change, that affected<br />particularly series production more than films: titles such as <em>Romanzo criminale – La serie</em>, <em>Gomorrah – La serie</em>, <em>The Young Pope</em>/<em>The New Pope</em>, <em>Suburra – La serie</em>, <em>My brilliant friend</em>, <em>Devils</em>, to name the most notable, seem to radically change the attitude of the national television system to create fictional content intended only for local audiences. At the origin of this mutation, several factors have contributed to restoring the centrality of the audiovisual “made in Italy”. One of the important factors is undoubtedly the emergence, starting in 2008, of an unprecedented production model built by the pay or subscription based TV. This essay<br />analyzes what can be defined as a “Renaissance” of Italian TV fiction and presents an original research dedicated to the role of Italian “premium seriality”.</p> Massimo Scaglioni Copyright (c) 2020 Massimo Scaglioni 2020-12-28 2020-12-28 18 17 24 10.6092/issn.2280-9481/11169 <em>The Young Pope</em> Goes to Washington: The Distribution Paths of an “Italian” Series on US Television <p>Analyzing in detail the US distribution path of <em>The Young Pope</em>, co-production between Sky, Hbo and Canal+, the article intends to demonstrate how in its American circulation this “Italian” television fiction has dialogued with a distinct media system and was re-packaged to meet the expectations of a different audience. From the promotional campaign to the creation of hype even before airing, from the scheduling choices to ratings data, from the US vision of the production process and of its costs to critical and media reception, and to the first steps of the sequel <em>The New Pope</em>, it is highlighted how the co-production status is renegotiated according to the logic of a different destination context, limiting as much as possible the “Italian” components. The case study also offers the chance for general thoughts on the recent international development of Italian TV fiction and on its effects, not always foreseen.</p> Luca Barra Copyright (c) 2020 Luca Barra 2020-12-28 2020-12-28 18 25 35 10.6092/issn.2280-9481/10922 Global Guadagnino: International Circulation and Critical Reception of Luca Guadagnino’s films <p>This essay aims to reconstruct circulation strategies and paths of Luca Guadagnino’s films abroad. After an overview on the international theatrical distribution of his films, the paper will present some data regarding the admissions obtained by Guadagnino in the two markets of greatest circulation of Italian cinema abroad, the United States and France. Through an analysis of the results made by his last four films — <em>I Am Love</em> (2009), <em>A Bigger Splash</em> (2015), <em>Call me by your name</em> (2017) and <em>Suspiria</em> (2018) — the US case will be examined in depth. Then, the paper will trace themes and issues emerging from the U.S. critical reception of these films, considering both specialist and generalist critics. By proposing a focus on the interrelationship between industrial dynamics and international reception practices, the aim of this contribution is to underline which characters related to a specific idea of Italy and, on the other and, to global art cinema emerge from the international circulation of Guadagnino’s films.</p> Damiano Garofalo Copyright (c) 2020 Damiano Garofalo 2020-12-28 2020-12-28 18 37 47 10.6092/issn.2280-9481/11348 <em>My Brilliant Friend</em>: Drawing the Profile of a Transnational Interpretative Community <p>The article focuses on the international reception of the first season of the TV series <em>L’amica geniale</em> (<em>My Brilliant Friend</em>, 2018-). This Italian media product has been distributed and circulated in numerous countries around the globe as the television adaptation of the first book of Elena Ferrante’s bestselling <em>Neapolitan Novels</em>. Generally, the forms of representation and narration of Italianness in Italian TV series that circulate abroad present two distinctive traits: on the one hand, they feature a globally recognizable image of Italian identity and culture, and on the other hand, they narrate stories that are deeply rooted in Italian local contexts. <em>L’amica geniale</em> places in the middle of this spectrum. The aim of this article is to discuss how the audience of the tv series contributes to defining its identity as a transnational/Italian cultural product by fostering symbolic processes often in tension with each other. <em>L’amica geniale</em> appeals to the foreign public both due to its local features, that is, by presenting elements that can be easily traced back to Italian history and culture, and because it can be inscribed within the broad label of quality tv.</p> Elisa Farinacci Claudio Bisoni Copyright (c) 2020 Elisa Farinacci, Claudio Bisoni 2020-12-28 2020-12-28 18 49 58 10.6092/issn.2280-9481/10924 Neapolitan Spaces, Figures and Scenarios in <em>Gomorra - La serie</em>: Ways and Forms of Reception in German-speaking countries <p>This contribution aims to investigate the reception of the “Gomorra brand” (Benvenuti 2017) in Germanspeaking countries. In particular, it focuses on the ways in which the series and some of its peculiar aspects – the decadent urban landscapes, the social context permeated by organised crime, the power of attraction exercised by male and female characters and the authenticity of the narration – have been received, and how they have contributed to convey specific images of Neapolitan identity associated, in some cases, with pervasive stereotypes and clichés. The contribution relies exclusively on the analysis of online documents<br />(among which, in-depth articles that appeared in newspapers with a wide or sectorial circulation, including <em>Der Spiegel</em> and <em>Die Zeit</em>) in order to analyse the effects produced by the tv series <em>Gomorrah</em> (together with its iconic building, the Vele di Scampia), in disseminating distinct images of Neapolitanism and, ultimately, of Italianness through an exchange between local and global.</p> Angela Fabris Copyright (c) 2020 Angela Fabris 2020-12-28 2020-12-28 18 59 72 10.6092/issn.2280-9481/11449 The Non-Professional Actor in the Reception of Italian Cinema Abroad <p>This article will examine the overlooked centrality of the non-professional actor in the circulation of Italian films outside the country. It analyses the importance of the legitimating label of neorealism in critical and festival discourse, and its relation to a weak Italian national star system, and to the Italian state system of film funding. It also places attention on the cultural representation of the non-professional who becomes a kind of “star attraction” on the festival circuit, an object of curiosity and a marker of authenticity for a cinephile audience, due to their “out-of-placeness” in the paracinematic activities of festival promotion. It argues that the non-professional actor is part of the branding of Italian cinema internationally, along with the figure of the auteur.</p> Catherine O'Rawe Copyright (c) 2020 Catherine O'Rawe 2020-12-28 2020-12-28 18 73 83 10.6092/issn.2280-9481/10925 “Italians do it Better”: From Don Matteo to Montalbano, the Discreet Charm of Italian Noir and the Conquest of the Land of the Rising Sun <p>In the increasingly widespread diffusion of the Italian brand abroad, Japan now plays a significant role. In fact, the boom in the popularity of Made in Italy in Japan dates back to the early 90s and, if gastronomy, fashion, football, design and travel were the leading actors at an early stage, more recently television dramas – and especially Italian crime fiction – also arrived. The aim of the present contribution is to reflect on the reception and diffusion of popular series such as <em>Il commissario Montalbano</em> and <em>Don Matteo</em> (which in recent years have landed on the successful crime channel AXN Mistery), in the wider context of the trend that in few decades has led Italy to be the foreign country most loved by Japanese people, among commonplaces, established stereotypes and prejudices (Miyake, 2011). In particular, it will be highlighted how the interest in the images of Italianity conveyed by that two specific productions intercept trends and phenomena firmly established in contemporary Japan, related to processes enhancing the acclaimed cultural authenticity closely linked to the construction and strengthening of national identity at a time of transformation and political-social crisis.</p> Paola Scrolavezza Copyright (c) 2020 Paola Scrolavezza 2020-12-28 2020-12-28 18 85 94 10.6092/issn.2280-9481/11268 Cultural Exports: Italian Film Festivals in the US <p>Film festivals serve a variety of purposes. They provide a communal experience, foster meaningful conversation about world cultures, cinematic and social practices. In this essay I investigate how different types and levels of support, as well as geography, determines programming choices, financial outcomes and community engagement. I offer a brief overview of Italian film festivals in the U.S. and I focus on the analysis of three Italian film festivals that distinguish themselves amongst the others because, maintaining their differences, they share the common objective of using films as vehicles for “cultural formation as promotion of Italy abroad” as per the Franceschini Act. They integrate academic screening discussions, lectures, and presentations. However, the way in which they are financially supported as well as the area in which they operate, lead to different outcomes. The public spheres of these festivals create those social identities necessary to promote a cultural capital. I affirm that in the U.S.A., in lack of government funds, film festivals<br />should count on enhancing their cultural capitals in order continue to attract the support of their patrons, mostly interested in obtaining the cultural capitals of educational film festivals.</p> Giovanna Caterina De Luca Copyright (c) 2020 Giovanna Caterina De Luca 2020-12-28 2020-12-28 18 95 105 10.6092/issn.2280-9481/11476 Sorrentino, <em>Loro</em> and the Others: The contemporary Italian Auteur in the French Context <p>This article analyses the circulation and reception of Paolo Sorrentino’s <em>Loro</em>/<em>Silvio et les autres</em> (2018) in France, as a case study that complements recent surveys of contemporary Italian cinema’s global impact. The film’s commercial failure is taken as a cue to observe the intermediaries between Italian films and French audiences. The institutional logics underlying the notion of “Italian auteur cinema”, the interpretive categories associated to it — such as political commitment or <em>impegno</em> —, and the stratification of taste in France are also discussed. To this purpose, the article brings together three points of view (and as many methodological approaches): first, it contextualizes auteur cinema as a specific type of cultural consumption by French spectators; then, it looks at the media circulation of contents related to <em>Loro</em>/<em>Silvio et les autres</em> and summarizes its critical reception; finally, it provides an account of its participation in festivals, through<br />interviews with cultural operators who promote Italian cinema in France. What emerges is that, whereas the French market is globally favorable to Italian auteur cinema, the success of each film depends on the ability to intercept a core group of spectators, through the habits, values and intermediaries legitimized by French cinephile culture.</p> Valerio Coladonato Copyright (c) 2020 Valerio Coladonato 2020-12-28 2020-12-28 18 107 116 10.6092/issn.2280-9481/11125