Edited by Giulia Alonzo, Luca Monti, Oliviero Ponte di Pino, Emma H. Wood

Over the last few decades, there has been a remarkable increase in the number and type of cultural festivals...

Edited by Alice Cati, Anna Chiara Sabatino, Max Schleser, and Shuai Li


Since the advent of small-gauge film devices, alternative audiovisual forms have adopted original and creative approaches to documenting personal experiences...

Edited by Piermarco Aroldi, Adriano D'Aloia, and Barbara Scifo

The development of perceptual and narrative environments enabled by immersive digital technologies has long been the basis for new media experiences in various fields...

Edited by Paola Dalla Torre, Mariagrazia Fanchi, Elena Mosconi

The new historiographical paradigms (Biltereyst, Malby, Meers 2019), the relevant boost of film audience studies provided by networks such as HoMER, and the convergence of an increasing number of disciplines around cinema history...

Edited by Carla Bino and Zuleika Murat

Since the late 1990s, scholars have produced a number of studies on medieval visual and material culture that do not deal with images as aesthetic and supra-historical objects, but rather with the relationship they established with the beholder in a precise and situated cultural-historical context.

Edited by Matteo Tarantino, Manuel Chavez & Gaia Amadori

The initial phases of crises are marked by intense activities of meaning-making as stakeholders navigate uncertainties. However, most of their lessons can be acquired only with hindsight, with the appropriate analytical distance.

Edited by Raffaele Chiarulli, Armando Fumagalli, Eva Novrup Redvall

Audiovisual content for children and young people has always been a very important sector within the creative industries from an economic and social perspective...

Edited by Charles M. Ess, aline franzke shakti, Elisabetta Locatelli
Since the late 1990s, Internet Research Ethics (IRE) has emerged as a burgeoning field, fueled by an ever-growing variety of ethical challenges and concerns...

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).

“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).