Everyman's Broadcasting:Programming the Democratic Transition in 1950s Italy.

European television history;Italian neorealism;Postwar Italy;television aesthetics;cultural citizenship;participatory culture;Screen Arts and Cultures;Humanities;Screen Arts and Cultures

Ritter, Courtney JoannPunathambekar, Aswin ;

University of Michigan

关键词: European television history;    Italian neorealism;    Postwar Italy;    television aesthetics;    cultural citizenship;    participatory culture;    Screen Arts and Cultures;    Humanities;    Screen Arts and Cultures;   

Others  :  https://deepblue.lib.umich.edu/bitstream/handle/2027.42/110497/rittercj_1.pdf?sequence=1&isAllowed=y

瑞士|英语

来源: The Illinois Digital Environment for Access to Learning and Scholarship

【 摘 要 】

Italian neorealism created a globally recognizable and reproducible style of cinema, one which became leveraged in efforts to create humanist and democratic societies around the world.Yet if Italian neorealism is a transnational force, approaches to Italian television—which began in neorealism’s waning years—remain rigidly national.;;Everyman’s Broadcasting: Programming the Democratic Transition in 1950s Italy” addresses this oversight to consider how early Italian television developed a series of practices aimed at creating a more participatory and egalitarian society.In particular, it addresses how programming made everyday individuals its protagonists, capturing them through impromptu encounters and encouraging them to express themselves colloquially and informally.This dissertation traces the confluence of factors that helped to establish these practices and explores why television became regarded as the ideal location through which to produce this new vision of society.;;Everyman’s Broadcasting” draws on three cases studies to exemplify how the unmediated, unedited, and improvised participation of average citizens structured new modes of interaction and produced new notions of individual subjectivity.The quiz show Lascia o raddoppia (Double or Nothing), the documentary Chi legge (Who Reads), and the variety program Un, due, tre (One, Two, Three) are examples of how regardless of genre, television used the individual’s own story, told live, in efforts to represent a new idea of Italian modernity—one which was to be humanist, participatory, and egalitarian.In analyzing the representations of everyday individuals on Italian television screens at a moment of cultural and political transition, ;;Everyman’s Broadcasting” reconsiders and revises the role of the television in the process of postwar Italian modernization and democratization, and the European response to the middlebrow entertainment of ;;mass” culture industries.