Cinéma & Cie. Film and Media Studies Journal <p><em>Cinéma &amp; Cie</em> is an international, peer-reviewed academic journal. The research areas of the journal include media history and theory and their relationship; the various intersections between technological, industrial and representational aspects; audiovisual heritage; reception and consumption; the links between different forms of audiovisual narrative, art and communication.</p> <p>Published twice a year (in Spring and Fall), the journal is structured in four different sections:</p> <p>– <strong>Thematic issue</strong>: usually the largest section, devoted to a specific topic. This section only accepts submissions in response to specific calls for essays that are advertised via the journal website;<br />– <strong>Beyond Cinema</strong>: a section focused on innovative perspectives on the transformations in the field of film studies. Submissions are accepted only in response to the permanent call for essays advertised on the website;<br />– <strong>Projects &amp; Abstracts</strong>: the section details international research and noteworthy Ph.D. thesis projects or abstracts, recommended by supervisors;<br />– <strong>Reviews</strong>: the section consists of significant essays, festivals, exhibitions, conferences and related content.</p> en-US (Cinéma & Cie. Film and Media Studies Journal) (Anna Caterina Dalmasso) Wed, 17 Nov 2021 11:50:34 +0000 OJS 60 Researching European Crime Narratives and the Role of Television: An Introduction Luca Barra, Alice Jacquelin, Federico Pagello Copyright (c) 2021 Cinéma&Cie. Film and Media Studies Journal Wed, 17 Nov 2021 00:00:00 +0000 BBC’s "Sherlock" and Europeanness: A Case Study on the Circulation of a European TV Crime Series in Italy <p>This paper considers BBC’s <em>Sherlock</em> (2010-2017) to intervene in debates on European identity and the transnational circulation of popular culture. The series, one of the most recent and successful television adaptations of Arthur Conan Doyle’s novels, is set in contemporary rather than Victorian London. It represents an example of both ‘quality’ international television and ‘prestige’ British popular culture. As noted by other writers, among the characteristics that enabled the commercial success of the series is its capacity to merge nostalgic elements deriving from the widespread imagery of the ‘original’ Sherlock Holmes with new and innovative textual components (e.g. use of digital technology, social media). The paper considers how <em>Sherlock</em> negotiates between tradition and innovation by bringing together past and present. It argues that such negotiations could perhaps be considered a mark of Europeanness, understood as a process of negotiating national identities. The paper then looks at the reception and circulation of <em>Sherlock</em> in Italy through the lens of cultural encounter theory. The series can be considered a success in terms of ratings and audience share. To some extent <em>Sherlock</em> has triggered both reflections on British television and self-reflections on Italian culture. Nevertheless, from the data we have collected, we observe that such reflections, however significant, remain limited.</p> Luca Antoniazzi, Sara Casoli Copyright (c) 2021 Cinéma&Cie. Film and Media Studies Journal Wed, 17 Nov 2021 00:00:00 +0000 On the Circulation of European TV Crime Series: A Case Study of the French Television Landscape (1957–2018) <p>Despite the advent of over-the-top platforms, linear television still remains the dominant medium in European markets. This article provides a case study of the circulation of non-French European crime series in the French televisual landscape. It is based on a diachronic analysis of the flow of TV crime shows produced in Europe and broadcasted in France from 1957 to 2018. The data was collected from the official French TV archives as well as from experts and professional sources such as TV programme guides, databases, newspaper articles or amateur sources. All national channels were taken into account, be they state television, mainstream commercial channels or cable channels, except for OTT platforms. The analysis, based on format studies, provides three main results. First, the circulation of European TV crime series in France is rooted in an industrial process. It entails a process of indigenization performed through human mediation in order to fit into the culture and industry of the broadcasting territory. The second result tempers the ideal of European cultural diversity. Indeed, a diachronic perspective highlights the limited cultural diversity in this field, as German, British and Nordic Noir productions dominate European TV crime series. Lastly, data indicate continued issues with gender and ethnic equality in media industries, as crime narratives are still construed by a white and male-dominated creative industry.</p> Laëtitia Biscarrat Copyright (c) 2021 Cinéma&Cie. Film and Media Studies Journal Wed, 17 Nov 2021 00:00:00 +0000 Producing Peripheral Locations: Double Marginality in Italian and Danish Television Crime Narratives <p>Alongside the enduring interest in capitals, location strategies in European crime series production have showcased an increased attention towards stories from and topographies of peripheral, distant and rural locations. We define and discuss this transcultural and transnational trend through the concepts of peripheral locations and double marginality, in the sense that these locations are usually distant from both production hubs and the symbolic centres of the nations, thus providing a fresh, sought-after visual identity to new crime series.</p> <p>Combining representational studies with a production studies perspective on Italian and Danish PSB crime dramas, including a media systemic exploration, we analyse the particular location strategies in a range of profiled series broadcasted by Rai in Italy and TV 2 in Denmark. In the end, we compare these strategies and reconfigure the notion of peripheral locations in the view of the analyses, while lifting the perspective to European level, thus showing how the tendency towards using peripheral locations in television dramas uncovers a new, European translocal sense of place and emphasize the role of TV series in forming a collective spatial imaginary of Europe.</p> Kim Toft Hansen, Valentina Re Copyright (c) 2021 Cinéma&Cie. Film and Media Studies Journal Wed, 17 Nov 2021 00:00:00 +0000 Away from London: Crime and Regional Film Commissions in the UK <p>The purpose of this essay is to investigate the role played by regional film agencies in the new Millenium production of TV crime drama in the UK by looking in particular at the portfolio of Screen Yorkshire. The recent development of production hubs and the global competition for studio spaces, location, and facilities, led to increased importance of regional settings and support for the screen industries which is evident in the activities of national and regional agencies in the UK. After an overview of the location market in the UK and the production support available at the regional level, the essay will address the crime narratives set in local settings, and the role played by the film agencies, in particular Screen Yorkshire. Screen Yorkshire since its establishment in 2002 proved successful in developing the growth of screen industries in the area, thanks to its specialisation in commercial content investment and the introduction of the Yorkshire Content Fund (YCF). The essay will engage with the different supporting mechanisms available in the areas, through the analysis of the crime productions to reveal how matters of location and heritage play a role in the crime narratives.</p> Markus Schleich Copyright (c) 2021 Cinéma&Cie. Film and Media Studies Journal Wed, 17 Nov 2021 00:00:00 +0000 Paths to Quality Television in Eastern Europe. Where Do Hungarian and Romanian HBO Series Come From? <p>This article provides an overview of HBO television series in Hungary and Romania, highlighting their relation to film traditions in each country. While it might seem surprising that HBO helped create original series in countries without a long-standing tradition in quality television, the roots for this ‘wave’ of Eastern European shows can actually be traced in local film production tradition. For these shows, HBO has worked to make regional voices heard internationally. These two Eastern European neighbours belong to the same categories in terms of cinema and television production in that they represent small markets with potential for development under the support of Western media. Yet this article shows how cultural differences surface when comparing these two countries’ filmic traditions, authorial perspectives, international recognition of professionals, and domestic audiences. In Hungary, prestigious directors, as well as new television professionals and ‘outsiders' from other fields, play significant roles in HBO projects. Together, they develop a relatively wide range of genres that target a broad spectrum of audience demographics. In the case of Romania, there exists a certain continuity with New Romanian Cinema in the HBO series. The Romanian productions attempt to attract larger numbers among domestic viewers in addition to international audiences. The emergent quality television in both countries demonstrates a reliance on the small cinema tradition, while capitalizing on the success of certain academic directions and the success independent film enjoyed in Europe. Given the lack of cooperation in Eastern Europe across numerous cultural and creative industries following 1989, this article examines how HBO acts as a catalyst for Hungarian and Romanian creativity. By bringing together local resources and using its legitimacy as a major player in international television, HBO empowers local professionals to upgrade the quality of their televised content.</p> Roxana Eichel, Anna Keszeg Copyright (c) 2021 Cinéma&Cie. Film and Media Studies Journal Wed, 17 Nov 2021 00:00:00 +0000 Constructing Ethnic Minority Detectives in French and German Crime Television Series <p>This article examines and compares the representation of ethnic minority lead investigators in the television crime series, <em>Tatort Hamburg</em> (ARD, 2008-2012 season), <em>Cherif </em>(France 2, 2013-2019), <em>Last Panthers</em> (Canal+, 2015), and <em>Dogs of Berlin</em> (Netflix, 2018). It suggests a typology of the figure of the ethnic minority detective based on representational patterns shared by the series and other literary and television narratives, which is discussed and contextualized within the ideological and commercial limitations of French and German television cultures. The last section assesses the series’ potential to depict ‘postmigrant societies’ founded on and influenced by social plurality and former and ongoing migration movements. In so doing, the study highlights role of typologies and narrative tropes in the portrayal of ethnic minorities in crime television and insists, despite the shortcomings of some series’ representational strategies, on the value of figures of identification for minority and majority audiences that attest to a shifting understanding of ‘us’ and ‘others’ in contemporary European societies.</p> Álvaro Luna-Dubois Copyright (c) 2021 Cinéma&Cie. Film and Media Studies Journal Wed, 17 Nov 2021 00:00:00 +0000 European Neurodivergent Detectives and the Politics of Autism Representation <p>One of the most original, recent contributions of contemporary European seriality to the crime genre has been the introduction of a notable number of detectives repeatedly diagnosed as autistic by autistic online communities. Titles such as the&nbsp;Millennium saga, <em>Sherlock, Forbrydelsen, Bron/Broen</em>, and, more recently, <em>Astrid et Raphaëlle</em>, are all widely debated within autistic online communities. This article investigates the unique critical perspective brought by the autistic parlance on these popular products, through a survey of blogs, social networks, fanfiction, and videos, in English and French. The analysis of this material reveals that there is a whole spectrum of different opinions among autists when it comes to their approval, or disapproval, of media representations of neurodiversity, oscillating between complaints for the persistence of the ‘savant autist’ stereotype and a grateful appreciation of the effort to portray the condition in positive and empowering ways. Most of the comments reflect the stances of the neurodiversity movement and the complex context of autism advocacy, by which autistic individuals reclaim the right to speak for themselves and stand up to fight for a more inclusive society.</p> Monica Dall’Asta Copyright (c) 2021 Cinéma&Cie. Film and Media Studies Journal Wed, 17 Nov 2021 00:00:00 +0000 Between Visibility and Media Performativity. The Role of Interface and Gesturality in Desktop Cinema <p>This article aims to investigate desktop films as ‘meta-media’ audiovisual forms and to analyse their aesthetics and their meta-reflective potential in the broader framework of contemporary visual and media culture. Screens and interfaces, re-mediated into these films, constitute a second-level media space into the filmic space. They are the only space visually accessible to the spectator, whereby the characters’ gesturality emerges as a form of performing relationship with digital technology, as a posture or a more general engagement with the (media) environment, as an ‘operational trace’ on the screen. Resulting from this visual and narrative structure is the centrality of ‘media performativity’, a concept that will be widely problematized in this article on a theoretical level and analysed as a behavioural pattern that characterizes our daily interaction with the screens surrounding us, as a part of an eco-media system in which action (of the user) and reaction (of the interface) are intervolved and entangled. The concept of media performativity relies on the idea that the individual is no longer separate from the medium throughout the mediation process but is instead deeply and radically involved in the medium itself.</p> Elio Ugenti Copyright (c) 2021 Cinéma&Cie. Film and Media Studies Journal Wed, 17 Nov 2021 00:00:00 +0000 Ph.D. Thesis Abstract - Helena Lumbreras et le "Colectivo de Cine de Clase": une pratique cinématographique militante à la fin du franquisme et durant la transition en Espagne Elena Blázquez Copyright (c) 2021 Cinéma&Cie. Film and Media Studies Journal Wed, 17 Nov 2021 00:00:00 +0000 Horizon 2020 Research Project - DETECt – Detecting Transcultural Identity in European Popular Crime Narratives Federico Pagello Copyright (c) 2021 Cinéma&Cie. Film and Media Studies Journal Wed, 17 Nov 2021 00:00:00 +0000 "Sulle tracce del crimine. Viaggio nel giallo e nero Rai / Hot on the Heels of Crime. A Journey into the World of Detectives on Rai" <p>"Sulle tracce del crimine. Viaggio nel giallo e nero Rai / Hot on the Heels of Crime. A Journey into the World of Detectives on Rai"</p> <p>(Roma, Museo di Roma in Trastevere October 7, 2020 – March 31, 2021)</p> <p>Exhibition and Catalogue Roma: RaiLibri, 2020</p> Paola Valentini Copyright (c) 2021 Cinéma&Cie. Film and Media Studies Journal Wed, 17 Nov 2021 00:00:00 +0000 Daniela Treveri Gennari, Catherine O’Rawe, Danielle Hipkins, Silvia Dibeltulo, and Sarah Culhane, Italian Cinema Audiences: Histories and Memories of Cinemagoing in Post-War Italy, New York: Bloomsbury Academic, 2020, pp. 240 Mariagrazia Fanchi Copyright (c) 2021 Cinéma&Cie. Film and Media Studies Journal Wed, 17 Nov 2021 00:00:00 +0000 Film and Domestic Space: Architectures, Representations, Dispositif, edited by Stefano Baschiera and Miriam De Rosa Edinburgh: Edinburgh University Press, 2020, pp. 256 Cristina Formenti Copyright (c) 2021 Cinéma&Cie. Film and Media Studies Journal Wed, 17 Nov 2021 00:00:00 +0000