Italian Television

1. In principio era l'exemplum! Il "principio" citato nel titolo di questo paragrafo non è quello della serialità narrativa, ma un punto arbitrario nel quale decidiamo di cominciare a studiare gli effetti performativi che la narrazione seriale produce nei suoi destinatari. Per le ragioni che vedremo tra poco, l'exemplum medievale, soprattutto nel suo utilizzo omiletico, costituisce un osservatorio privilegiato sul rapporto tra serialità e persuasione, ma la serialità in sé, almeno quella definita secondo i canoni attuali (Buonanno 2012, Scaglioni e Barra 2013), ha radici ben più profonde. Come non riconoscere nei poemi omerici l'architettura di quelle che oggi, nel gergo televisivo, vengono chiamate "serie antologiche"? Due differenti "stagioni" (stagione 1: Iliade; stagione 2: Odissea), trame diverse, ma personaggi ricorrenti, episodi auto conclusi (es. Ulisse nell'isola dei Ciclopi), ma un unico filo conduttore (il viaggio verso Itaca)...

Con la morte di Pippo Baudo il 16 agosto 2025 scompare, secondo il commento dei media, l’ultimo rappresentante di una generazione di attori della televisione italiana che non solo l’ha fondata, ma la ha anche accompagnata e trasformata in tutta la sua lunga parabola nella seconda metà del Novecento italiano. Nel secondo dopoguerra pochi media hanno inciso quanto la televisione nella definizione di identità collettive, modelli sociali e immaginari condivisi. In Italia, la TV non è stata soltanto uno strumento di intrattenimento o di educazione, ma un vero e proprio laboratorio culturale in cui politica, economia e società hanno costantemente interagito. Dai programmi pedagogici della Rai degli anni Cinquanta, concepiti come veicolo di formazione civile e morale, fino all’irruzione delle televisioni private negli anni Settanta e al duopolio degli anni Novanta, la televisione ha raccontato e al tempo stesso orientato le trasformazioni del Paese. Attraverso format, linguaggi e figure carismatiche, essa ha plasmato stili di vita e orizzonti di senso, offrendo agli italiani una chiave per leggere il presente e immaginare il futuro.

Oggi, con la crisi della televisione lineare e l’affermazione di piattaforme on-demand e social media, quel ruolo unificante della TV appare definitivamente tramontato. Gli spettatori si sono trasformati in utenti, organizzati in comunità digitali frammentate e spesso impermeabili le une alle altre. L’eredità della televisione come costruttrice di immaginari collettivi sopravvive così in forme nuove, dentro spazi comunicativi governati dagli algoritmi, dove micro-pubblici e “tribù digitali” ridefiniscono costantemente gusti, identità e pratiche di consumo. Riflettere sulla storia della televisione italiana significa quindi interrogarsi non solo sul passato, ma anche sulle modalità con cui, ancora oggi, le tecnologie mediali contribuiscono a formare culture politiche, sociali e simboliche.

Per quanto possano apparire sempre più aperti e paritari, informali e perfino caotici, i mondi della vita quotidiana, così come quelli della famiglia, dello sport, della scuola e del lavoro, sono organizzati ancora oggi, nelle società occidentali come in quelle orientali, nel sud come nel nord del mondo, in base ad alcuni confini fondamentali: quelli che separano, facendoli vivere fianco a fianco, gli uomini e le donne, i bambini e le bambine. È indubbio che, soprattutto nei paesi plasmati dal liberalismo democratico, le donne attualmente godano al pari degli uomini di una serie di diritti importanti, ed è altrettanto vero che diverse sfere d'azione sociale sono formalmente regolate da norme per le pari opportunità che tentano di promuovere principi di eguaglianza universalistica tra le persone. eppure, senza forzatura alcuna, possiamo facilmente renderci conto del fatto che le differenze di «genere» - e cioè quelle differenze sociali e culturali che sono organizzate secondo una logica binaria di appartenenza all'una o l'altra delle due classi sessuali «maschio» e «femmina» - rimangono tra quelle più salde ed importanti, sia per la riproduzione della struttura sociale, sia per la gestione delle nostre identità. L'origine della nozione di genere è legata al consolidarsi del pensiero femminista durante gli anni settanta e alla diffusa presa d'atto nelle scienze sociali-dalla sociologia, alla storia, all'antropologia che le differenze tra uomini e donne vengono sostenute da molte istituzioni sociali e vanno riportate essenzialmente ad uno squilibrio di potere. Lo stesso trattare le differenze tra uomini e donne e i loro rapporti mediante un unico termine risponde all'esigenza di considerare le relazioni tra questi diversi posizionamenti, e la loro strutture sociali e culturali. Il libro di Connell che qui si introduce è un formidabile viatico per accompagnarci verso uno sguardo che sia critico, attento sia al quotidiano che alle istituzioni, e aperto all'evoluzione delle identità e delle pratiche di genere.

Dexter Morgan lavora nella polizia scientifica di Miami come analista delle macchie di sangue rinvenute sulla scena del crimine. La sua routine quotidiana, divisa tra sodalizi familiari e relazioni coi colleghi, è fatta per apparire banale. Ma si tratta solo di finzione: ce ne informa subito lo stesso Dexter, che in certe notti diviene infatti implacabile (serial) killer di serial killer sfuggiti alla giustizia. Un vendicatore? Un giustiziere? O un essere che, incatenato al passato da anelli misteriosi, lotta drammaticamente, ferocemente per guadagnare la propria libertà? Di sicuro un personaggio del tutto inedito nel pur affollato panorama di caratteri interessanti che oggi ci viene offerto da letteratura, fumetto, cinema e serialità televisiva. Nato nel 2004 dal computer del romanziere americano Jeff Lindsay e protagonista dal 2006 di un telefilm di culto, Dexter viene qui studiato, per la prima volta in Italia, in tutta la sua sconvolgente complessità e da diverse angolazioni disciplinari, dalla semiotica alla mediologia, dalla criminologia alla psicologia e alla filosofia. //

Dexter Morgan works in Miami’s forensic police department as an analyst of bloodstains found at crime scenes. His daily routine, divided between family ties and relationships with colleagues, is made to appear ordinary. But this is only a façade: as Dexter himself quickly reveals, on certain nights he becomes an implacable (serial) killer of serial killers who have escaped justice. An avenger? A vigilante? Or a being chained to his past by mysterious bonds, struggling dramatically and fiercely to win his own freedom? Certainly, he is an utterly original figure within the already crowded landscape of compelling characters offered today by literature, comics, cinema, and television series.
Born in 2004 from the keyboard of American novelist Jeff Lindsay and since 2006 the protagonist of a cult TV show, Dexter is examined here— for the first time in Italy— in all his shocking complexity and from multiple disciplinary perspectives, ranging from semiotics to media studies, from criminology to psychology and philosophy.

Beyond single works scattered across different publication venues, Italian scholarship on gender and media has hardly circulated abroad. This Special Issue is, therefore, meant to make a substantial contribution to the international visibility and consideration of a body of works that has so far remained in the shadows. From this perspective, the varied range of the articles in the issue offers an overview of both the current status of gender and media studies in Italy and the ways gender is constructed in discourses, practices and actions throughout the Italian media landscape – including television, radio, fashion magazines, newspapers and digital platforms. In addition to the variety of media and topics, the works collected in this issue are also peculiar for resorting frequently to the historiographic approach, on the assumption that trajectories of change in gender and media relationship can only be traced in the comparison between past and present.

This article explores representations of subjecthood in Netflix's 2018 Italian teen drama Baby through a detailed investigation into the ways that the multiple spaces of an elite private high school in Rome's upper class Parioli neighborhood control and are controlled by the students who occupy them. The three-season series, a fictionalized version of a real-life Italian underage prostitution ring in Rome, explores all facets of the teenage lives of its characters, but it is through the space of the school, the hallways, the classrooms, the locker rooms, and the bathrooms, that we get to understand how social regulation works on and against those who depend on its structures. Using cultural geography and queer theory, this analysis explores how the representation of these students in these spaces ultimately reveals the inability of normative structures to understand or educate these students in a way that meets their needs.

In this article, we seek to highlight and discuss some changes observed in Brazilian Netflix series since 2016 that play an important role in the complexity of the productions. Those changes are expansions in the classical narrative and plot model, with consequent changes in the strategies of information distribution, the effect on how viewer attention is gained and the thematic development of the productions. Regarding the methodology, we adopted a poetic reading based on David Bordwell's considerations on the classical storytelling model. And we explore the following aspects in the Netflix original series Boca a Boca (2020): the expansion of anticipation of the inciting incident in the narrative structure; the change of the main line of action based on the Multiplot design in the plot structure; and we also analyze the staging solutions that stand out. We concluded that the expansions contributed to a greater demand for viewer attention, in addition to encouraging a diversity ...

La donna. Figlia della tempesta" offre una selezione di opere (grafica, pittura, fotografia, scultura) fondamentali per comprendere la ricerca artistica degli artisti della mostra. Il volume, pubblicato in occasione della mostra a cura di Paolo Rotolo, propone un interessante e ricco excursus iconografico degli artisti selezionati: Albonico Kelly, Busacca Carmen, Dávila Bucio Enriqueta Olivia, Escalante Vinces Jorge Luis, Guidi Deborah, Messina Patrizia, Rossi Ilaria, Sharf Veronica, Valenti Lucia e Giacomo Zornetta; oltre ad una sezione dedicata ai saggi sulla figura della donna. Il catalogo si presenta come un compendio essenziale per addentrarsi nelle molteplici sfaccettature dell'identità femminile contemporanea. Attraverso le sue pagine, si ripercorre il suggestivo percorso espositivo articolato in cinque sezioni tematiche, che esplorano la vulnerabilità, la resilienza, le radici culturali, le sfide sociali e la dimensione onirica e trasformativa dell'esperienza femminile. Ogni sezione è arricchita da approfondimenti critici che contestualizzano le opere e ne svelano le connessioni concettuali, offrendo una visione completa e sfumata del complesso universo della donna, "figlia della tempesta" ma anche artefice della propria rinascita.

This study analyzes Ambra Angiolini’s autobiographical novel InFame (2020) in the context of autobiographies by Italian actresses, highlighting her distinctive voice. Starting with the novel, which recounts her ten-year struggle with bulimia nervosa, the analysis focuses on the early phase of Angiolini’s television career, particularly her role as host of Non è la Rai, a period that coincides with the onset of her illness. Furthermore, drawing on theoretical frameworks from Fat Studies, the article examines the relationship between eating disorders and the beauty ideals promoted by mainstream media in Italy during the 1990s.

The article reports the results of a content analysis of 815 Italian commercials and a qualitative research on some case studies. The study aims to determine the level of sex typing in the Italian advertising and try to find some new portrayals of men and women. If the content analysis confirms the perpetuation of old stereotypes in the Italian commercials, the qualitative research reveals a timid transgression of traditional gender representations. Sometimes, women are depicted as professionals and ambitious workers, inserted in different workplaces and not confined at home, flanked by men and not only driven by them. Occasionally, men are depicted at home, in the role of father or as a sexual object. However, the "new" portrayals do not imply a reduction of the differences between men and women; rather they articulate the gender diversity in a more subtle form. On the one hand, the Italian commercials reassure traditional identities, pushing them towards consumptions that destabilize the gender order. On the other hand, they promote a new awareness and attention to the gender complexity, anchoring it to traditional consumptions. Even if the new portrayals are few and do not constitute a trend, they prove that the topic is more complex than it seems, and the issues are much more nuanced than in the past.

Il paper esplora la rappresentazione delle donne trans nella serie televisiva "Pose", acclamata per il suo approccio inclusivo. L'obiettivo è analizzare come la serie contribuisca a ridefinire le narrazioni trans nei media, superando i "transgender tropes" negativi del passato. Attraverso un'analisi che combina teoria di genere, studi sulla performatività e ricerche sulla rappresentanza mediatica, il paper riepiloga i concetti di genere, performatività, passing e transnormatività. Analizza quindi la rappresentanza quantitva di persone trans nel cast, nella scrittura e nella produzione di "Pose". Succesivamente, svolge un'analisi contenutistica degli episodi per identificare la costruzione dell'identità dei personaggi, facendo emergere l'importanza della "Realness" e la presenza di transnormatività. Infine esplora la possibilità che la serie adotti un "trans gaze", offrendo una prospettiva autentica e inclusiva. La ricerca mira a valutare se "Pose" riesca a superare gli stereotipi eterocisnormativi, offrendo una rappresentazione autentica e rispettosa delle donne trans, e se riesca a dare una prospettiva nuova e reale.

Il documento analizza come la politica contemporanea adotti la narrativa dei supereroi per costruire leader come figure eroiche, semplificando il dibattito democratico in uno scontro tra "buoni" e "cattivi". Questo processo legittima la violenza come strumento politico e alimenta il culto della personalità, come nel caso di Donald Trump. La politica diventa spettacolo, riducendo la complessità e favorendo una percezione manichea del potere. L’autore invita a un approccio critico per distinguere finzione e realtà nella comunicazione politica.

Figlio bianco e vermiglio, / figlio senza simiglio, / figlio e a ccui m'apiglio?"; "L'albero a cui tendevi / la pargoletta mano, / il verde melograno / da' bei vermigli fior". "Vermiglio" è una parola che ha una certa risonanza nelle antologie scolastiche italiane. Vermiglio è anche il nome di un paese nell'alta Val di Sole, in Trentino, che dà il titolo al film di Maura Delpero che ha vinto il Leone d'argento all'81esima mostra del cinema di Venezia. Di vermiglio (il colore) c'è poco nella fotografia del film, diretta in modo magnifico da Mikhaïl Krichman. Vermiglio è un film bianco (la nave, il latte, le galline, il vestito da sposa), verde (i prati), grigio (gli abiti, gli interni, il manto degli animali), blu (il cielo, alcuni indumenti). È un film color legno, del colore delle materie di cui è costituito. Il rispetto per il profilmico, la precisione antropologica, la fedeltà nella ricostruzione storica degli ambienti ha pochi equivalenti nel recente cinema in costume italiano. La parola "vermiglio" ("vermigli") la si sente però pronunciare, quando viene recitato Pianto antico. Il film racconta un ambiente montano che vive di un'economia di sussistenza. La morte infantile è nell'ordine delle cose. La poesia di Carducci descrive una tragedia cui gli abitanti di quelle montagne sono pronti. Quelle parole non sono solo retorica scolastica, ma entrano in risonanza con vite che sono in balia del tempo, del ritmo delle stagioni, della salute delle vacche, della generosità dei raccolti, di tutto ciò che va sotto il nome di Provvidenza.

The chapter proposes a theoretical framework to study meaning-making in library music, with an emphasis on the social processes that inform the construction and reception of musical meaning across television production. It focuses on the role of long-playing records in the industrial practice of Italian television during the 1970s, analysing the strategies employed to signify recorded musical texts through their surrounding paratexts – i.e., the formal and material components of recorded artefacts that help frame a specific meaning for a piece of music, such as titles, descriptions and cover images. Moving apart from a rigid signifier/signified communication model, the chapter sheds light on the various levels of mediation comprised in the process of selecting music for television, examining the ways library records have been used by industry professionals (musicians, publishers, music consultants) as functional objects capable of generating networks of culturally shared meanings.

An intermedial performer capable of reaching audiences as far apart as Cannes and Italian TV, Pierfrancesco Favino perfectly embodies the clichés of the Italian antidivo ("unconventional star"; Carluccio and Minuz 2015): rejection of all extravagance; discretion in one's private life; and great social commitment. His image contains something neoclassic, something that evokes the stereotype of virility that developed in the modern age. This is based on qualities such as moral rigor, balance, and robustness, which can be traced not to the canon of sensuality (Mosse 1997, 59-70), but to heroism and civic sense, virtues demonstrated by many of the characters he plays, such as Gino Bartali (Gino Bartali: L'intramontabile, Bartali: The Iron Man, Alberto Negrin, 2006) and Giorgio Ambrosoli (Qualunque cosa succeda, Whatever Happens, Alberto Negrin, 2014). "Classic" is also the autobiographical narrative that has seen Favino-Luca Ronconi's student-achieve success at the end of a difficult path. His acting career began on the benches of the Accademia Nazionale d'Arte Drammatica Silvio D'Amico, which he attended by alternating study with occasional work, and has been honored with three A. Scandola (B)

Coming-of-age stories are linked to the concepts of rite of passage and boundary experience" (Driscoll 2011). Adolescence can be outlined as a developmental crisis, a fracture of the unconscious in which the search for one's identity necessarily passes through a collision with the parental imago. If contemporary teen dramas seem to have neutralized the conflict between parents and children, parental figures-and in particular the father figure-emerge as an instance to symbolize inherited guilt or a prescribed destiny in crime series starring young misfit anti-heroes. This paper aims to offer an investigation of two contemporary Italian coming-of-age crime dramas, Suburra. The series (Netflix, 2017-2020) and Bang Bang Baby (Prime Video, 2022), which explore the transition from adolescence to adulthood of young heirs of Italian criminal organizations, Darwinially condemned to their own descent into the underworld due to the guilt inherited from their fathers. The investigation aims to combine interplaying methodologies: Murray Smith's (1995) three-level cognitive paradigm of engagement; the mechanism of engagement with antiheroes playing lead characters (Blanchet and Vaage 2012) as well as the developmental psychopathology approach to adolescence (Ammaniti 2010; Lingiardi and McWilliams 2008).

The article provides an introduction to the second of a pair of spe-cial issues devoted to academic filmmaking, which contains ten video essays and prose guiding texts. The article describes the vari-ety of filmmaking practice in the academy, and some of the venues where examples of the practice are published or exhibited. It ges-tures at the multiple origins of academic filmmaking with special reference to the tradition of the essay film, and finds a key reflexive moment in Eric S. Faden's (prose) “Manifesto for Critical Media” (2008), which articulated the challenge of using “image, voice, pac-ing, text, sound, music, montage, rhythm” to create scholarly audi-ovisual work. The introduction goes on to set out the aims for the special issues, and to describe the contents of the video essays and some of the features, concerns or approaches shared between and across those contents. The video essays derive from fields including videographic criticism, anthropology, experimental cinema, and participatory and activist filmmaking.

The article provides an introduction to the first of a pair of special issues devoted to academic filmmaking, which, apart from this in-troduction, contains eleven prose articles. The article describes the variety of filmmaking practice in the academy, and some of the ven-ues where examples of the practice are published or exhibited. It gestures at the multiple origins of academic filmmaking with spe-cial reference to the tradition of the essay film, and finds a key re flexive moment in Eric S. Faden's (prose) “Manifesto for Critical Media” (2008), which articulated the challenge of using “image, voice, pacing, text, sound, music, montage, rhythm” to create schol-arly audiovisual work. The introduction goes on to set out the aims for the special issues, and to describe the contents of the eleven ar-ticles in the first issue and some of the features, concerns or ap-proaches shared between and across those contents. The eleven articles deal with themes raging from academic filmmaking as activism, to vulnerability and embodiment, to the challenges of production and publishing and of institutional legitimization.

Nie ulega kwestii, iż Biblia jest we współczesnej fantastyce istotnym archetekstem, którego istnienie w utworze da się rozpoznać poprzez postaci, wątki, kwalifikację genologiczną (np. wyznaczniki gatunków apokaliptycznych). Za przykład może posłużyć twórczość Walerija Wotrina, Jelieny Chajeckiej, niektóre utwory Dymitra Glukhovskiego. Tekstem napełnionym biblijnymi indeksami intertekstualnymi i wielokrotnie ewokującym treści biblijne jest niewątpliwie powieść młodej pisarki Anny Starobiniec Schron 7/7. Autorka debiutowała w 2005 roku zbiorem opowiadań Переходный возраст, który ukazał się w Polsce pod tytułem Szczeliny. Już w pierwszym tekście Starobiniec podejmuje biblijne wątki jednostkowej i powszechnej eschatologii. Wchodzące w zbiór opowiadanie Żywi jest próbą wypowiedzenia się na temat "końca" jako fenomenu. Co świadczy o końcu życia, czym jest koniec cywilizacji, gdzie kończy się przedmiot a zaczyna podmiot? Drugim tekstem pisarki jest, wydany w 2006 roku, Schron 7/7 (Убежище 3/9), poświęcony tematowi rodziny w kontekście etyki judeochrześcijańskiej. Problem ten ukazany jest przez pryzmat świata dziecka. W kolejnych latach autorka pisze zbiór opowiadań Резкое похолодание, utwory dla dzieci Страна хороших девочек i Котлантида oraz antyutopię, poruszającą temat zbawcy i opartą na kolizji osobowości i zbiorowości -Живущий. Bez wątpienia Starobiniec jest jedną z wybitniejszych pisarek nowego rosyjskiego horroru, silnie nawiązującego do postsowieckiego doświadczenia (szczególnie w powieści Живущий), wykorzystującego lęki i emocjonalne traumy społeczeństwa rosyjskiego. Jak zauważa krytyk Olga Lebioduszkina: "Mroczne historie Anny Starobiniec prawie nigdy nie kończą się happy endem, za to często niosą z sobą szczególne, zatrważające poczucie narodowej współ-1 О. Лебедушкина, Наша новая готика, о чудесах и ужасах в современной прозе, "Дружба нродов" 2008, nr 11, http:/ /magazines.russ.ru/druzhba/2008/11/le21.html, "Мрачноватые истории Старобинец почти никогда не заканчиваются хеппи-әндом, зато часто несут в себе особое, тревожное чувство отечественной современности" [tłum. moje -I. Z.]. 2 G. Ravasi, Biblia jest dla ciebie. Mały kurs teologii biblijnej, tłum. D. Stanicka-Apostoł, Poznań 2011, s. 11.

Nie ulega kwestii, iż Biblia jest we współczesnej fantastyce istotnym archetekstem, którego istnienie w utworze da się rozpoznać poprzez postaci, wątki, kwalifikację genologiczną (np. wyznaczniki gatunków apokaliptycznych). Za przykład może posłużyć twórczość Walerija Wotrina, Jelieny Chajeckiej, niektóre utwory Dymitra Glukhovskiego. Tekstem napełnionym biblijnymi indeksami intertekstualnymi i wielokrotnie ewokującym treści biblijne jest niewątpliwie powieść młodej pisarki Anny Starobiniec Schron 7/7. Autorka debiutowała w 2005 roku zbiorem opowiadań Переходный возраст, który ukazał się w Polsce pod tytułem Szczeliny. Już w pierwszym tekście Starobiniec podejmuje biblijne wątki jednostkowej i powszechnej eschatologii. Wchodzące w zbiór opowiadanie Żywi jest próbą wypowiedzenia się na temat "końca" jako fenomenu. Co świadczy o końcu życia, czym jest koniec cywilizacji, gdzie kończy się przedmiot a zaczyna podmiot? Drugim tekstem pisarki jest, wydany w 2006 roku, Schron 7/7 (Убежище 3/9), poświęcony tematowi rodziny w kontekście etyki judeochrześcijańskiej. Problem ten ukazany jest przez pryzmat świata dziecka. W kolejnych latach autorka pisze zbiór opowiadań Резкое похолодание, utwory dla dzieci Страна хороших девочек i Котлантида oraz antyutopię, poruszającą temat zbawcy i opartą na kolizji osobowości i zbiorowości -Живущий. Bez wątpienia Starobiniec jest jedną z wybitniejszych pisarek nowego rosyjskiego horroru, silnie nawiązującego do postsowieckiego doświadczenia (szczególnie w powieści Живущий), wykorzystującego lęki i emocjonalne traumy społeczeństwa rosyjskiego. Jak zauważa krytyk Olga Lebioduszkina: "Mroczne historie Anny Starobiniec prawie nigdy nie kończą się happy endem, za to często niosą z sobą szczególne, zatrważające poczucie narodowej współ-1 О. Лебедушкина, Наша новая готика, о чудесах и ужасах в современной прозе, "Дружба нродов" 2008, nr 11, http:/ /magazines.russ.ru/druzhba/2008/11/le21.html, "Мрачноватые истории Старобинец почти никогда не заканчиваются хеппи-әндом, зато часто несут в себе особое, тревожное чувство отечественной современности" [tłum. moje -I. Z.]. 2 G. Ravasi, Biblia jest dla ciebie. Mały kurs teologii biblijnej, tłum. D. Stanicka-Apostoł, Poznań 2011, s. 11.

Abstract dell'intervento per il convegno IASPM Italia “La musica di ogni giorno, oggi”, organizzato dall'International Association for the Study of Popular Music, Italian Branche , Università di Bologna, Dipartimento delle Arti, novembre 2024

In this essay, through a sociocultural, linguistic and media framework, I try to demonstrate why we can define Max Pezzali as a cantautore, drawing the salient features of his songwriting identity and the reasons why medial nostalgia is the prevailing perspective that has allowed, in recent years, to reposition him firmly in the mediascape of Italian song.

Słowo "ciot(k)a" to przede wszystkim obelga kierowana w stronę homoseksualnych mężczyzn, która jest jednak stopniowo rekontekstualizowana i odzyskiwana w języku, kulturze i aktywizmie osób LGBT. Zakres i chronologia tego odzyskiwania pozostają sporne wśród badaczy. Artykuł rekonstruuje bieżące debaty wokół tego, jak kategoria "cioty" była używana w latach dziewięćdziesiątych w prasie dla homoseksualnych mężczyzn. Po omówieniu różnic między wnioskami z trzech badań, z których jedno jest mojego autorstwa, zastanawiam się nad możliwymi przyczynami rozbieżności. Omawiane czynniki to różnice metodologiczne między analizą mediów z perspektywy studiów kulturowych i socjolingwistyki, ocena ironii i kampu oraz czynniki genderowe związane z usytuowaniem badaczy. Twierdzę, że stawką przedstawionych analiz jest polityczna moc rekontekstualizowanych obelg.

Każdego dnia mamy styczność ze środkami masowego komunikowania. Prasa, radio, telewizja, internet-wszystko to służy nam odbiorcom. W wyniku rozwoju nauki i techniki mamy wręcz nieograniczone możliwości dostępu do informacji. Przeobrażenia mediów doprowadziły do momentu w historii, kiedy granice tego, co prywatne uległy w dużej mierze zatarciu. Oczywiście nadal istnieje tabu, ale jego zakres stał się o wiele węższy niż jeszcze kilkadziesiąt lat temu. W mediach pojawiły się stałe tendencje i zjawiska, które całkowicie zmieniły zawartość przekazu. Warto więc przyjrzeć się im bliżej. Nurt, który wymaga dogłębnej analizy ze względu na nowe podejście do kwestii prywatności, to wojeryzm, zwany również podglądactwem. Niestety, w polskiej literaturze problem ten traktowany jest marginalnie, zwłaszcza w zakresie polityki. Nasuwa się więc pytanie, czy zjawisko wojeryzmu rzeczywiście występuje w polskich mediach? Jeśli tak, to w których gatunkach można zauważyć jego przejawy? I jaki ma wpływ na sposób przedstawiania polityków? Celem niniejszego artykułu jest zbadanie występowania tego zjawiska w różnych środkach masowego przekazu, jego przyczyn w podłożu osobowościowym i kulturowym człowieka, a także wpływu na wizerunek polityków. Podczas studiów nad tematem zastosowano metody opisową oraz obserwacji, w mniejszym stopniu także analizę danych statystycznych.

Le donne di Westeros. Agency femminile fra tradizione e trasgressione nel medioevo immaginato del Trono di Spade Matilde Cazzola, Luca Sandrini Le donne, il matrimonio e l'ordine sessuale dell'Impero britannico (c. 1715-1815). Commento a margine di Black Sails e Bridgerton Giancarlo Poidomani How the West was won: come le serie tv hanno raccontato il mito della Frontiera da La casa nella prateria a Outer Range Raffaella Bianchi L'esportazione di modelli femminili delle serie tv turche: Noor e Fatmagül tra violenza e desiderio Eros Francescangeli Visioni caleidoscopiche. Identità nazionale, conflitti culturali e rappresentazioni di genere in tre serie televisive turche Ricerche Stefano Gardini Primi sondaggi per un approccio di genere agli user studies in ambito archivistico Louise Bonvalet Sorcier ou sorcière? Les époux Di Rossi et Stellopulla devant l'inquisition vénitienne Rubriche Recensioni Paola Stelliferi «Non è che l'inizio!»: il processo di Verona del 1976 Antonella Petricone Un nuovo immaginario in cui riconoscersi Resoconti Marilena Casella The Other Side of Power. Il rapporto tra donne e potere dall'epoca tardorepubblicana all'età tardoimperiale

The discourse of slimming diets in contemporary Italian women's press. Qualitative analysis. Based on a corpus of articles extracted from contemporary Italian female magazines (2021) Donna Moderna and Grazia, this paper examines the nature of discourse of slimming diet. It is shown that the discourse has changed compared to the study conducted on the material from 2005-2008. Altogether 29 monthly issues have been analyzed. Currently emerging corpus does not contain many persuasive techniques related to emotions (Aristotle's pathos), the credibility of provided advice is enhanced mostly by arguments from authority (ethos). The innovation thus lies in the references to currently important societal topics, such as ecology (a manifestation of linguistic fashion). The research based on a rhetorical tools and analysis of press discourse shows that the topic of weight loss is treated nowadays with greater awareness and is being transferred to the pages of the men's press, in women's magazines its place is taken by e.g., cosmetic-surgical, or ecologic discourse. The conclusions from own research have been preceded by a review of theoretical issues in the field of a modern concept of a slimming diet, myth of beauty, development of the press in Italy, the role of cuisine and food in the Italian women's press.

After three-decades of financial success, Turkish TV series have been recognized as a compelling agent in the global cultural milieu. With their increasing consumption and popularity in over 150 countries in the past two decades (Türkiye’s series exports 2022), Turkish television series have attracted attention both nationally and globally. Earlier studies have explained this popularity as a result of novelty, cultural proximity, and new technological developments in the TV industry, such as the rise of VoD services and digital platforms and a consequent increase in demand for more content. However, the fact that the Turkish television industry remains among the globe’s top five exporters of scripted content urges us to take a closer look at these dramas. The collection of articles in this special issue of Series: International Journal of TV Serial Narratives aims to focus on the national and global significance of Turkish TV series by critically examining their social, cultural and ideological implications in Turkey and across the world. Considering new dynamics of Turkish TV and its disjunction and continuities, the authors explore the development of Turkish TV series as a national product, their distinct narratives, and what these dramas mean for audiences and publics within and outside Turkey from historical, regional and global perspectives.

The main objective of this paper is to focus the attention on the transformations
occurred during the period conditioned by the Covid pandemic within the relationships
between subjects and the public space.
The analysis will focus on the specific experiential practices registered in some green areas
of the University of Palermo and Catania. Such external areas, initially considered as empty
places, without an official destination of use, were reacquired and filled with furnishings
that re-semantized them into places of socialization. This paper will describe the emer-
gence of peculiar processes of reappropriation of them, which actually had the effect of reshaping their meaning. Doing so renovating the aura of attending university physically

During the 1950s, comedy actors Ugo Tognazzi and Raimondo
Vianello were the famous faces of Italian variety television thanks to
their roles as hosts of the popular series Un, due, tre (1954-1959). In
addition to proving popular with audiences, the programme played
an important role in establishing the nature of variety television in
this period, and the expectations of Italian television more broadly,
given the regular focus in each episode on the nature of the
medium itself. This article explores this focus on television and the
wider role played by Tognazzi and Vianello as hosts of Un, due, tre
as a way of exploring the nature of Italian variety television in the
1950s. In particular, it examines how the two stars appealed to and
connected with viewers in a way that established a nascent national
television audience and expectations regarding entertainment
programming and television broadcasting in this period.

Videogames are a fundamental tool in shaping new generations' collective imagination. In particular, videogames usually present limited depictions of masculinity and femininity and, for this reason, offer canonical norms concerning gender identity. The present paper explores narrative videogames as a key medium to indirectly deconstruct gender canons. Specifically, the paper focuses on the analysis of non-conventional female identities in three videogames based on the adventures of three different protagonists that counteract gender standards.

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Gomorrah is an Italian crime drama TV series that has been appreciated worldwide, being sold in 190 countries, despite its wide use of Neapolitan dialect, hardly understandable without the use of subtitles even for most Italians. Scholars immediately approached the study of this serial phenomenon, analysing it from different points of view, framing it within the broader context of studies on the new Italian television and its serial products. Our approach to Gomorrah, taking these elements into account, adds a new perspective that concerns character recognition, an emerging branch of research, to associate dialogues with characters and identify the verbal features of characters. We have then chosen Gomorrah as a challenging dataset to perform character recognition. We rely on the transcripts of the series after a pre-processing stage to standardize the lexicon despite the vagaries of dialect and remove stopwords. A machine learning approach, based on a selection of tools, is then employed to identify characters from the lexicon they employ. The problem is approached as a multi-class classification scheme. We compare several representations of texts, including the simple one-hot encoding and more advanced embedding techniques. The results are presented through a confusion matrix, which can also serve to identify similarities in the linguistic profiles of characters.

This article concerns the Italian adaptation of multinational reality television series Undercover Boss (Boss in incognito in Italian translation). The show (2014-present) is aired in primetime on the Italian public service broadcaster, Radiotelevisione Italiana (Rai), and shows one of the rare examples of labor thematization in the mainstream Italian television. As such, it constitutes an iconic title which makes important contributions to the socio-cultural role of screen storytelling. This essay approaches the tv series as a source, and explores how Boss in incognito, in a manner similar to the original format, is able to provide Italian viewers with a popular narrative not free from ideological implications. Furthermore, it hypothesizes that the programme does not fully correspond to the Rai's public service obligations.