{"id":5555,"date":"2021-06-23T08:24:48","date_gmt":"2021-06-23T08:24:48","guid":{"rendered":"http:\/\/www.detect-project.eu\/?p=5555"},"modified":"2021-10-15T07:38:49","modified_gmt":"2021-10-15T07:38:49","slug":"detect2021-day-two","status":"publish","type":"post","link":"https:\/\/www.detect-project.eu\/2021\/06\/23\/detect2021-day-two\/","title":{"rendered":"#DETECt2021 – Day Two"},"content":{"rendered":"

[et_pb_section fb_built=”1″ fullwidth=”on” disabled_on=”on|on|off” module_class=”hero-section” _builder_version=”3.5.1″ background_image=”https:\/\/www.detect-project.eu\/wp-content\/uploads\/2018\/07\/manag2.jpg” custom_margin=”0px|||” custom_padding=”0px|||” custom_css_main_element=”max-height: 400px;”][et_pb_fullwidth_post_title featured_image=”off” _builder_version=”3.5.1″ title_font=”Roboto||||||||” title_text_color=”#ffffff” title_font_size=”38px” meta_font=”Trebuchet||||||||” meta_text_color=”#ffffff” meta_font_size=”14px” background_color=”rgba(0,0,0,0.5)” text_orientation=”center” custom_padding=”||120px|” filter_sepia=”1%” animation_style=”fold” custom_css_post_image=”margin-top: -190px;”][\/et_pb_fullwidth_post_title][\/et_pb_section][et_pb_section fb_built=”1″ fullwidth=”on” disabled_on=”off|off|on” module_class=”hero-section” _builder_version=”3.5.1″ background_image=”https:\/\/www.detect-project.eu\/wp-content\/uploads\/2018\/07\/manag2.jpg” custom_margin=”0px|||” custom_padding=”0px|||” custom_css_main_element=”max-height: 400px;”][et_pb_fullwidth_post_title featured_image=”off” _builder_version=”3.5.1″ title_font=”Roboto||||||||” title_text_color=”#ffffff” title_font_size=”32px” meta_font=”Trebuchet||||||||” meta_text_color=”#ffffff” meta_font_size=”12px” background_color=”rgba(0,0,0,0.5)” text_orientation=”center” custom_padding=”||120px|” filter_sepia=”1%” animation_style=”fold” custom_css_post_image=”margin-top: -190px;”][\/et_pb_fullwidth_post_title][\/et_pb_section][et_pb_section fb_built=”1″ specialty=”on” _builder_version=”3.5.1″ custom_margin=”||0px|” custom_padding=”||0px|”][et_pb_column type=”3_4″ specialty_columns=”3″ _builder_version=”3.0.47″ parallax=”off” parallax_method=”on”][et_pb_row_inner admin_label=”Riga” _builder_version=”3.5.1″][et_pb_column_inner type=”4_4″ saved_specialty_column_type=”3_4″ _builder_version=”3.0.47″ parallax=”off” parallax_method=”on”][et_pb_image src=”https:\/\/www.detect-project.eu\/wp-content\/uploads\/2021\/06\/Copy-of-Copy-of-Copy-of-International-Conference-21-23-June-2021-Link-Campus-University-Rome-Italy.jpeg” _builder_version=”3.5.1″ border_width_all=”12px” border_color_all=”#ffffff” box_shadow_style=”preset2″ custom_margin=”-140px|||”][\/et_pb_image][\/et_pb_column_inner][\/et_pb_row_inner][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”3.0.47″ parallax=”off” parallax_method=”on”][et_pb_blurb title=”The conference” _builder_version=”3.5.1″ header_font=”Roboto|300|||||||” header_text_color=”#476399″ header_font_size=”16px” body_font=”Roboto||||||||” body_text_color=”rgba(0,0,0,0.6)” body_font_size=”12px” border_width_top=”2px” border_color_top=”#dbbb03″ custom_padding=”10px||30px|”]Watch the video of the Plenary Session<\/a>.
\n[\/et_pb_blurb][\/et_pb_column][\/et_pb_section][et_pb_section fb_built=”1″ specialty=”on” _builder_version=”3.5.1″ custom_margin=”0px|||” custom_padding=”0px|||”][et_pb_column type=”3_4″ specialty_columns=”3″ _builder_version=”3.0.47″ parallax=”off” parallax_method=”on”][et_pb_row_inner custom_padding=”0px||0px|” admin_label=”Riga” _builder_version=”3.5.1″ custom_margin=”||0px|”][et_pb_column_inner type=”4_4″ saved_specialty_column_type=”3_4″ _builder_version=”3.0.47″ parallax=”off” parallax_method=”on”][et_pb_text _builder_version=”3.5.1″]<\/p>\n

A reportage of #DETECt2021 Conference. Written by Nicola Pimpinella and Lavinia Sansone, Students of the Dams Degree Course (Link Campus University).<\/h3>\n

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The second day of the DETECt Conference at Link Campus University started with several panels taking place in rooms A, B and C.<\/p>\n

 <\/p>\n

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PARALLEL SESSION 3<\/h2>\n

Panel A3: Crime Narratives: A Crossborder Perspective<\/strong><\/p>\n

Starting with Stefano Sollima\u2019s work as the first authentic Italian showrunner, this panel mentioned: \u201cRomanzo Criminale – La serie\u201d (2006-2008), \u201cGomorrah\u201d (2014-present) and \u201cZeroZeroZero\u201d (2020-present). In the first case, characters still embody the struggle between good and evil; in \u201cGomorrah\u201d, they become highly complex in a claustrophobic world. Unlike the novel by Roberto Saviano, from which the series was adapted, the absence of that figure who guides us through the events and who represents the alternative to crime should be noted. Instead, a more global dimension can be found in \u201cZeroZeroZero\u201d, a series in which deep human feelings (e.g. desire for power and revenge) lead to the eventual dehumanization of characters. Finally, aesthetically speaking about the role of landscape, although the representation of Southern Italy is authentic, none of the clich\u00e9s of the Campania region (e.g. sea, sun and Vesuvius) is present.<\/p>\n

Panel B3: Crime Narratives, Periphery and Multiculturalism<\/strong><\/p>\n

Analyzing the concept of \u201cperipheral locations\u201d, which \u201cdoes not exclusively imply a distance from Rome\u201d (Coviello and Re 2021), this panel focused on some recent examples of films set outside of primary tourist routes. For instance, over the last thirty years, the Po Valley has become a \u201cparticularly dark crime setting\u201d, as it is full of unexplored areas that are ideal for hiding mysteries: not surprisingly, it has been described as a \u201cPadanian-Gothic landscape\u201d (Cappi 2007). In the case of \u201cHuman Capital\u201d (2013), the director Paolo Virz\u00ec \u201ctransplants a novel set in Connecticut to Brianza\u201d (Bertarelli 2014), proving that local specificities can be integrated into innovative but also challenging ways. In fact, locals have accused Virz\u00ec of painting an inaccurate picture of the area. As in the case of \u201cMediterranean noir\u201d, the label \u201cPadano noir\u201d can be interpreted also in terms of glocal narratives, transnational identity, and cosmopolitism: ultimately, \u201cthe river has no centre [\u2026], it is the elsewhere\u201d (Belpoliti 2021).<\/p>\n

Panel C3: The Geography of Crime Fiction: Local \/ Global<\/strong><\/p>\n

Mentioning the works of Spanish authors like Jos\u00e9 Luis Correa, Antonio Lozano, Dolores Redondo, Ibon Mart\u00edn and Eva Garc\u00eda S\u00e1enz de Urturi, this panel reflected on the description of routes taken by characters, which add realism and also contribute to follow the steps of the investigations. Moreover, in the case of \u201cLa Ceguera del Cangrejo\u201d (2019) by Alexis Ravelo, the author promotes sustainable tourism in Lanzarote: in fact, the description of natural and artistic heritage of the island occupies more than six pages in the novel, that is therefore located halfway “between narration and transmission of knowledge\u201d. And as more and more readers wish to visit the story\u2019s locations, literary routes have been organised with the involvement of the writer himself. The fertility of regional crime fiction in Spain shows how Madrid and Barcelona are no longer the main settings: in fact, always more writers choose to set their stories in territories they know very well and wish to make known. If similar phenomena can be found in Italy, France and other European countries, instead of a literary movement tout court, one can talk about \u201cexchange and openness in the mosaic of Europe, whose cultural unity emerges strongly\u201d.
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PARALLEL SESSION 4<\/h2>\n

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Panel A4: Crime Narratives: a Transmedia Perspective<\/strong><\/p>\n

This panel reflected on how the subgenre of noir narratives have become perhaps \u201cthe most critically and commercially successful case of transnational TV seriality in Europe\u201d, as is shown by series like \u201cInspector Montalbano\u201d (1999-2021), \u201cWallander\u201d (2008-2016), \u201cBabylon Berlin\u201d (2017-present), \u201cMoney Heist\u201d (2017-present) and \u201cWitnesses\u201d (2014-present). Taking as an example the\u00a0noirification<\/em>\u00a0of the Italian TV \u201cgiallo\u201d, which took place first in the field of literature, the panel reflected on the equivalence between this process and that of\u00a0complexification<\/em>. As \u201cthe act of labeling something noir, particularly a visual fiction, is a way of insisting on its status as art\u201d (Steenberg 2017), these series have achieved the status of \u201cquality\u201d products and therefore present recognizable elements that can \u201cgain audiences and circulate transnationally\u201d. And if \u201cthe Italian public broadcasting system didn\u2019t take long to follow this model\u201d, similar trajectories can be seen in other countries, too.<\/p>\n

Panel B4: New Takes on the Police Procedural<\/strong><\/p>\n

Through the analysis of series like \u201cCriminal\u201d (2019-present) and \u201cIn Treatment\u201d (2008-present), this panel went on to investigate the modus operandi of the \u201cchamber play\u201d as a transnational format and how it articulates popular geopolitics and social or psychological realities linked to crime and criminality. Either the police interrogation room and the therapist\u2019s office show the so-called \u201caesthetics of the closed place\u201d, but each local series has its peculiarities. For instance, in the case of \u201cCriminal\u201d, even if the criminal act stays the same, there is a difference in terms of framing and\/or social status (e.g. the depiction of sexual abuse in \u201cCriminal: UK\u201d and \u201cCriminal: Spain\u201d). Furthermore, the panel showed how \u201cWestern chamber plays highlight the crisis of modern democracies\u2019 institutions\u201d, whereas \u201cEastern chamber plays highlight how multiple modernities reframe the institutions of modern democracies\u201d.<\/p>\n

Panel C4: Crime Narratives and Ecocriticism<\/strong><\/p>\n

Analysing the novel \u201cEarthly Remains\u201d (2017) by \u201ceco-detective writer\u201d Donna Leon, this panel reflected on the \u201cuse of crime fiction formula to orientate some of its conventions into environmentalist discourse\u201d. Talking about global issues, while also succeeding in reaching exoticism, the ecocriticism conducted by Leon starts in the Venetian lagoon and concretizes the \u201clarge-scale effects of climate catastrophe\u201d, thus reaching a worldwide audience. The crime novel also underlines \u201cthe connivance between local criminal organizations and large international corporations\u201d. The panel went on with the role played by the Mediterranean in making these \u201ccomplex scalar tensions\u201d visible: they also contribute to the global circulation of the author\u2019s work and ecocriticism, indeed a vast and challenging topic, closely related to the theme of narrative delocalization, too.
\n[\/et_pb_text][et_pb_image src=”https:\/\/www.detect-project.eu\/wp-content\/uploads\/2021\/06\/detect-final-conference-new-2.jpg” show_in_lightbox=”on” _builder_version=”3.5.1″ box_shadow_style=”preset2″ custom_margin=”30px|||”][\/et_pb_image][et_pb_text _builder_version=”3.5.1″]In the afternoon, it was the turn of two parallel sessions and one keynote speech:<\/p>\n

PARALLEL SESSION 5<\/h2>\n

 <\/p>\n

Panel A5: Crime Narratives and Politics<\/strong><\/p>\n

Analysing \u201cSuburra\u201d (2017-2020) through the concept of \u201cNew Italian Epic\u201d by literary group Wu Ming, this panel reflected on the series\u2019s political plot, which is also evident by the presence of a character of a corrupt, professional political figure. Still, in reality, \u201cevery level of community in Suburra is basically rotten to the core\u201d (e.g. church, police and industrial corruption). The solution then is either revolution or apocalypse: in fact, Stefano Sollima\u2019s film \u201cSuburra\u201d (2015) is punctuated by chapters entitled \u201c7 days before the apocalypse\u201d, \u201c6 days before the apocalypse\u201d, etc. A similar atmosphere is also reflected in advertisement, as in the dark clouds in the background of the series\u2019s poster. The panel concluded that \u201cthe apocalyptic vision of crime and politics is a shortcut for spectacularizing Italian plots in the New Italian Epic TV\u201d, as proved by the idea of interconnection between criminality and the fertile ground it finds in recent Italian political history.<\/p>\n

Panel B5: Crime Narratives and Gender<\/strong><\/p>\n

Analysing Turkish crime drama miniseries \u201cPersona\u201d (2018), which takes the form of a critique of social justice while focusing on gender inequalities, this panel reflected on gender representation in cultural identity, stereotypes and roles. Female roles generally present passive characteristics as wives, mothers or daughters; the male ones, on the other hand, are more dominant in the shoes of workmen, husbands and fathers. The \u201cmale-dominated social order\u201d is also represented by the fictional, conservative town of Kambura, where a male-dominated culture pressures women. Concerning social memory, the character of Reyhan witnesses and concretises through his diary the suppression of social memory perpetrated by men: in fact, protagonist Nevra Elmas \u201cforgets what was traumatic for her\u201d and this inability to remember is compared to Alzheimer\u2019s disease, since \u201cif the facts are forgotten or made to be forgotten, there is neither a crime nor a conscience\u201d.<\/p>\n

Panel C5: Netflix and the Popularity of TV Crime Drama<\/strong><\/p>\n

Focusing on pop songs as relevant tools on both narrative and production sides of TV series, this panel considers their role in building genre identity, as proved by Netflix\u2019s local productions. The two main functions of pop songs in crime TV series are enhancing the mood (e.g. fear) and changing the mood (e.g. love song in a murder scene): in the second case, pop songs can be used to \u201ccontradict the typical dark tone of crime series in contrast with stereotypical song choices\u201d. Examples of sound branding include Italian partisan song \u201cBella Ciao\u201d (in \u201cMoney Heist\u201d) and \u201cRed Right Hand\u201d (in \u201cPeaky Blinders\u201d). In Italian crime series, it can also be noted the presence of electronic sounds and lyrics in Neapolitan dialect (e.g. \u201cGomorrah\u201d) and dark, blues-rock theme songs (e.g. \u201cRocco Schiavone\u201d. The panel concluded that pop songs have become \u201ca quality trademark, a production tool through which a crime series can display its originality and modernity\u201d.
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Keynote by Janet McCabe<\/h1>\n

\u201cDivided Bodies, Crossing Borders, Transnational Encounters: Towards a Feminist Approach of Transnational TV Studies\u201d<\/p>\n

Dr Janet McCabe from Birkbeck, University of London started with a case study of the high-concept scripted TV format of \u201cThe Bridge\u201d (2011-2018) to discuss on feminisms in the world, locational feminism and new ways of feminism thinking. By showing a series of audio-visual essays (\u201cFlow\/Cut\u201d, \u201cBody\/Matters\u201d and \u201cLaw\/Fear\u201d by McCabe and Grant, 2018), she went on with the theme of cultural legitimacy in relation to crime stories involving women, especially complex female detectives with borderline personalities. Later, Dr McCabe moved to the concept of locational feminism, which translates in different spatial-temporal contexts (Stanford Friedman 2001).<\/p>\n

During the discussion following the keynote speech, Associate Professor Pia Majbritt Jensen from Aarhus University, answered the questions with Dr Janet McCabe, hinting at structures of representations and other available tools to tell different stories.
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PARALLEL SESSION 6<\/h1>\n

 <\/p>\n

Panel A6: Crime Films and Transnationalism<\/strong><\/p>\n

Stressing that crime fiction communicates Europeannes at a transnational level like no other genre, this panel reflected on the complex structure of European crime films in relation to the more prosperous case of TV production. Claiming that crime is \u201ca national genre\u201d whose international reach does not depend solely on its autonomy, the panel mentioned national and supranational support schemes like the Selective Distribution one: even though crime is the most popular genre, it obtains less funds than drama (52%) and comedy (12%); for instance, French drama takes as much budget as the total of comedy and crime all over Europe. The panel concluded that \u201csupranational supports in distribution could help a broader circulation of European crime films\u201d, which seem to become<\/em> European<\/em> only when associated with an authorial figure.<\/p>\n

 <\/p>\n

Panel B<\/strong>6: The Other in TV Crime Dramas<\/strong><\/p>\n

Mentioning the importance of the crime genre in Hungary, this panel wanted to systematise a large amount of data in relation to the representation of international relations and foreigners: Italy and France, mainly associated to the drug trade, are countries where Hungarians go to study; Austria, Germany and the UK are countries where they go to work, therefore are connected to immigration; Luxembourg represents the banking centre of incomes in many Hungarian storylines; from Russia and Ukraine come, for instance, many Hungarian characters trained in the former KGB; Thailand and New Zealand, at the end of the world, represent an \u201cescape route for criminals\u201d, and South America comes across as a place where \u201ceverything illegal can happen\u201d.<\/p>\n

Panel C6: Generic and Narrative Hybridity in European Crime Television<\/strong><\/p>\n

Mentioning films like \u201cAlmanya: Welcome to Germany\u201d (2011), \u201cJupiter\u2019s Moon\u201d (2017) and \u201cDistrict 9\u201d (2009), this panel reflected on the detection of the \u201cOther\u201d through the figure of the \u201cIntermediary\u201d. For instance, \u201cDiamantino\u201d (2018) suggests that \u201cthe African refugee has always been part of the country [Portugal]\u201d, therefore he is a constant reminder of Portuguese colonial history, implying that \u201cthe external is just the internal in disguise\u201d. In the case of \u201cMorgen\u201d (2010), the fear of the refugee is conceived through that of the internal other. The panel concluded that, in European cinema, the representation of the \u201cOther\u201d is not new, since it can be traced back to German Expressionism; some have even ventured to argue that \u201cimmigration is simply the new term for race\u201d.
\n[\/et_pb_text][et_pb_image src=”http:\/\/www.detect-project.eu\/wp-content\/uploads\/2021\/06\/201878714_1299563783772596_8743905698297271480_n.png” show_in_lightbox=”on” _builder_version=”3.5.1″ box_shadow_style=”preset2″ custom_margin=”30px|||”][\/et_pb_image][\/et_pb_column_inner][\/et_pb_row_inner][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”3.0.47″ parallax=”off” parallax_method=”on”][et_pb_blurb title=”Practical info” _builder_version=”3.5.1″ header_font=”Roboto|300|||||||” header_text_color=”#476399″ header_font_size=”16px” body_font=”Roboto||||||||” body_text_color=”rgba(0,0,0,0.6)” body_font_size=”12px” border_width_top=”2px” border_color_top=”#dbbb03″ custom_margin=”30px|||” custom_padding=”10px|||”]<\/p>\n