Submissions invited for Issue 33 of the Journal of Theatre Criticism and Dramaturgy (JTCD).

All submissions must be made through the Dergipark site:

https://dergipark.org.tr/en/journal/987/submission/step/manuscript/new

Last date of submission: 4 October 2021.

Author Guidelines:

https://iupress.istanbul.edu.tr/journal/jtcd/information/author-guidelines

Contact:

Ben Jonson frequently referred to his literary works as his ‘mind children’ in the paratext accompanying his printed plays, and he movingly reversed the analogy in his commemorative poem “On My First Sonne”: rendering tribute to the deceased child by styling him his father’s “best piece of poetry”. Jonson is associated with a bold renegotiation of authorship in the early modern period, but he was far from alone in turning to procreational metaphors in descriptions of his literary practice. Metaphors of this kind were useful to writers in suggesting a close relationship between author and text and to grapple with the notion of creative innovation vis-à-vis tradition.

Over the past decade, the media ecology has been dramatically shifting with the advent of online “over-the-top” streaming services, the streaming wars that followed, and the platformization of the web. As the distance between big tech companies and legacy media players rapidly dwindles, rippling effects can be felt across industries, audience practices, regulatory frameworks, and more. Simultaneously, the rise of streaming services also continues to provoke further theorizations on topics that have concerned media scholars for decades regarding the asymmetrical dynamics of power and influence as it relates to globalization processes, representation, identity, politics, cultural and national mediations, and economic development.  

This symposium and edited volume seeks to draw together research into cinematic exhibition in Italy throughout the twentieth and twenty-first century. Current research into Italian cinema is continuously expanding its purview to consider the great range of genres, forms and contexts that have been engaged by filmmakers working in the country. Similarly, recent studies have shone vital light on the complex make up of Italy’s film audiences, and on the practices of film producers and distributors in the country. This project will continue this critical expansion by investigating the myriad ways in which film media (both Italian and foreign) has been exhibited and consumed in Italy.