Papers by Alessia Francesca Casiraghi
Cinergie – Il cinema e le altre arti. N 25., 2024
Coming-of-age stories are linked to the concepts of rite of passage and boundary experience" (Dri... more 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).
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Conference Presentations by Alessia Francesca Casiraghi
As digital media platforms have incredibly developed over the last decades, they can no longer be... more As digital media platforms have incredibly developed over the last decades, they can no longer be thought of simply as multi-hour libraries of audiovisual content, but rather as complex ecosystems where the past can shape future worlds. Digital media have changed the way collective memory is collected, producing a new ecology of remembering and forgetting. This article questions how media dynamics affect the creation of a shared cultural memory, focusing on the role of the national television archive as an agent of intergenerational nostalgia and historical knowledge. Specifically, the article explores the case of RaiPlay, the multimedia platform owned by the Italian national broadcaster RAI, taking a critical stance towards the archive’s practices of contextualisation and preservation of audiovisual contents.
This article aims to expand on current research and deepen understandings of media archiving best practices, investigated as a range of activities that are intimately related to the assembling, building and designing of specific future worlds. To achieve this, three theoretical frameworks will be considered: media and memory, the platformization of cultural production as described by Nieborg and Poell, and the notion of quantified nostalgia. How do platforming processes, based on algorithms and data, influence the way national and collective memory is constructed and experienced? Is it possible to foresee a new taxonomy alongside the more classic categories? What new form of temporality emerges in the face of the possibility of accessing repackaged audiovisual memories?
Furthermore, in a bigger picture, the article would shed the light on the internal dynamics and paradoxes of platforms, such as the governance and responsibility for preserving media memories, and the risks associated with the fragmented use of audiovisual archive contents. There are two interrelated dangers future archiving and collecting practices will have to warn against: if context collapses, time also collapses.
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“Chez les archaïques comme chez les enfants, la première vision, la première conscience de soi es... more “Chez les archaïques comme chez les enfants, la première vision, la première conscience de soi est extérieure à soi. Le « je » est d’abord un autre, un double, que révèlent et localisent ombres, reflets, miroirs ”(Morin, 1972). In the modern tradition of biopic, the central process of adapting a public persona to a fictional character is one of merging the public and private selves (Bordieu,1986). The dichotomy between on-stage and off-stage becomes even more provoking with an actor performing what is proposed to be a staged version of their private self, becoming a “parafictional personas” (Warren, 2017).
This article aims to examine some examples of Italian contemporary comedy series in which celebrities performing fictionalized versions of their off-stage selves, to illustrate what such performances can do not only for the authenticity of an individual celebrity’s persona, but also the
authenticity of the texts in which they appear. With a primary focus on actor and comedian Carlo Verdone in his series Vita da Carlo (Prime Video, 2021-2023), the article spans its investigation on celebrities and figures that populate the entertainment industry (authors, directors, actors) as they are portrayed in the comedy Call my agent Italia (Sky, 2023).
The hypothesis is that celebrities playing fictionalized themselves in texts for the screen may serve different functions, such as enhancing the believability of a fictional world of the media industry, or satirically undermining the established persona, or even authenticating the public persona as a form of the 'real self'.
The investigation combines interplaying methodologies: Smith’s typology of character engagement (1995), Goffman's theories of self-presentation (1990), as well as media industry studies (Caldwell, 2008; Herbert, Lotz and Punathambekar, 2020).
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Papers by Alessia Francesca Casiraghi
Conference Presentations by Alessia Francesca Casiraghi
This article aims to expand on current research and deepen understandings of media archiving best practices, investigated as a range of activities that are intimately related to the assembling, building and designing of specific future worlds. To achieve this, three theoretical frameworks will be considered: media and memory, the platformization of cultural production as described by Nieborg and Poell, and the notion of quantified nostalgia. How do platforming processes, based on algorithms and data, influence the way national and collective memory is constructed and experienced? Is it possible to foresee a new taxonomy alongside the more classic categories? What new form of temporality emerges in the face of the possibility of accessing repackaged audiovisual memories?
Furthermore, in a bigger picture, the article would shed the light on the internal dynamics and paradoxes of platforms, such as the governance and responsibility for preserving media memories, and the risks associated with the fragmented use of audiovisual archive contents. There are two interrelated dangers future archiving and collecting practices will have to warn against: if context collapses, time also collapses.
This article aims to examine some examples of Italian contemporary comedy series in which celebrities performing fictionalized versions of their off-stage selves, to illustrate what such performances can do not only for the authenticity of an individual celebrity’s persona, but also the
authenticity of the texts in which they appear. With a primary focus on actor and comedian Carlo Verdone in his series Vita da Carlo (Prime Video, 2021-2023), the article spans its investigation on celebrities and figures that populate the entertainment industry (authors, directors, actors) as they are portrayed in the comedy Call my agent Italia (Sky, 2023).
The hypothesis is that celebrities playing fictionalized themselves in texts for the screen may serve different functions, such as enhancing the believability of a fictional world of the media industry, or satirically undermining the established persona, or even authenticating the public persona as a form of the 'real self'.
The investigation combines interplaying methodologies: Smith’s typology of character engagement (1995), Goffman's theories of self-presentation (1990), as well as media industry studies (Caldwell, 2008; Herbert, Lotz and Punathambekar, 2020).
This article aims to expand on current research and deepen understandings of media archiving best practices, investigated as a range of activities that are intimately related to the assembling, building and designing of specific future worlds. To achieve this, three theoretical frameworks will be considered: media and memory, the platformization of cultural production as described by Nieborg and Poell, and the notion of quantified nostalgia. How do platforming processes, based on algorithms and data, influence the way national and collective memory is constructed and experienced? Is it possible to foresee a new taxonomy alongside the more classic categories? What new form of temporality emerges in the face of the possibility of accessing repackaged audiovisual memories?
Furthermore, in a bigger picture, the article would shed the light on the internal dynamics and paradoxes of platforms, such as the governance and responsibility for preserving media memories, and the risks associated with the fragmented use of audiovisual archive contents. There are two interrelated dangers future archiving and collecting practices will have to warn against: if context collapses, time also collapses.
This article aims to examine some examples of Italian contemporary comedy series in which celebrities performing fictionalized versions of their off-stage selves, to illustrate what such performances can do not only for the authenticity of an individual celebrity’s persona, but also the
authenticity of the texts in which they appear. With a primary focus on actor and comedian Carlo Verdone in his series Vita da Carlo (Prime Video, 2021-2023), the article spans its investigation on celebrities and figures that populate the entertainment industry (authors, directors, actors) as they are portrayed in the comedy Call my agent Italia (Sky, 2023).
The hypothesis is that celebrities playing fictionalized themselves in texts for the screen may serve different functions, such as enhancing the believability of a fictional world of the media industry, or satirically undermining the established persona, or even authenticating the public persona as a form of the 'real self'.
The investigation combines interplaying methodologies: Smith’s typology of character engagement (1995), Goffman's theories of self-presentation (1990), as well as media industry studies (Caldwell, 2008; Herbert, Lotz and Punathambekar, 2020).