Watch the video of the Plenary Sessions and Contest Award Cermony<\/a>.<\/p>\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 final day of the DETECt Conference at Link Campus University started with parallel sessions taking place in rooms A, B and C, followed by a plenary session.<\/p>\n
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PARALLEL SESSION 7<\/h2>\n
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Panel A7: The Foreigner in Crime <\/strong>Fiction<\/strong><\/p>\nThrough the analysis of Deon Meyer\u2019s post-apartheid, African noir \u201cThe Last Hunt\u201d (2018), this panel reflected on the historical and contemporary relationship between Africa and Europe in relation to crime fiction:\u00a0the panel focused on the complex interconnections between the two continents\u00a0in terms of time, space, crimes and characters. In such sense, \u201cThe Last Hunt\u201d comes across as \u201ca hybrid literary product\u201d that brings the local dimension into the global one, constantly moving from the national to the transnational level: by mentioning the central character\u2019s exile in Bordeaux, the panel went on to stress the theme of mobility, while also complicating the socio-political landscape. Moreover, \u201cthe detective figure straddles the fine line between hero and villain\u201d, which is typical in noir and therefore proves the osmotic relationship between fiction traditions that are only geographically distant.<\/p>\n
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Panel B7: The Geography of TV Crime Dramas: Local \/ Global<\/strong><\/p>\nStarting with \u201cThe Break\u201d (2016-2018), this panel wondered whether detective fiction is a \u201cglocal\u201d genre, as it exports local situations abroad and imports global ones: \u201ccrime fiction is a travelling structure, applicable and thereby a world literature par excelle<\/em>nce<\/em>\u201d (Hedberg). Moving onto the topic of peripheral locations, the panel went on to list the \u201cmany reasons for choosing a tight-knit community as a setting to our dastardly plots\u201d (Kiernan). In the case of Arctic and Greenlandic noir, the panel analysed\u00a0\u201cThin Ice\u201d (2020-present) to discuss opportunities and challenges of remote locations from a production perspective: so, it is inevitable that, for instance, the pitfalls shape both narrative and aesthetics, which can, however, benefit from it; in fact, \u201cIceland has become the centre of Arctic film and TV production, also concerning crime narratives\u201d.<\/p>\n <\/p>\n
Panel C7: The Contribution of Digital Humanities to Cultural Studies Research<\/strong>\u00a0<\/strong><\/p>\nCommenting on the digital infrastructure built by DETECt Project, this panel reflected on diversified resources, integrated tools and services supporting research, teaching and learning activities. Mentioning the MOOC on \u201cEuro-Noir\u201d created by DETECt, the panel described the different objectives of a MOOC on crime fiction as part of a research project: for instance, its ability to reach a large public has the potential to build a strong international learning community where it is possible to spread research outcomes and encourage transnational dialogue. Analysing the locative screen tourism experience \u201cDETECt Aarhus\u201d, the panel went on to show how smart screen tourism can provide \u201ca multifaceted perspective on locations\u201d, as it encourages people to explore local cultures: users can visit the places of the fictional worlds depicted in films and TV series.<\/p>\n
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Plenary session: Crime, Creative Industries and Contemporary European Media Policies<\/h2>\n
Research Fellow Federico Pagello from Universit\u00e0 di Chieti-Pescara chaired this session that saw the participation of two teams of researchers, Italian and Danish. Research Fellow Luca Antoniazzi from Universit\u00e0 di Bologna talked about the potentials (e.g. pursuing extra economic goals in media policy) and weaknesses (e.g. absence of future-led policies) of the new AVMSD. Next, Associate Professor Luca Barra from Universit\u00e0 di Bologna focused on \u201cforeign content and its travelling paths\u201d: in his paper, he went on to the topics of format adaptations, subtitling and dubbing, which help to circulate ideas, safeguard minority languages and, eventually, build a more diverse European culture. Moving to the Danish team, Assistant Professor Cathrin Helen Bengesser from Aalborg University reflected on the geographical imbalances in fiction funding decisions while analysing Creative Europe\u2019s TV Programming Scheme: for instance, looking at application statistics, you may notice that \u201cbig applicants have below average success rate\u201d and \u201csmaller applicants often do get a chance (but hardly ever for fiction)\u201d. Finally, Associate Professor Kim Toft Hansen from Aalborg University took the example of \u201cThe Team\u201d (2015-2018) to illustrate how TV crime drama can be a form of transcultural communication: as the first genuine \u201cEuropean\u201d series of its kind (5 different European producers, 7 European broadcasters, 6 different languages, etc.), the series proves \u201cthe European added-value\u201d behind the promotion of \u201cdifferences that transcend various traditional cultures\u201d (Hepp).<\/p>\n
In the final afternoon, it was the turn of a keynote speech, a round table discussion and, finally, the DETECt Screenwriting Contest award ceremony.<\/p>\n
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Keynote by <\/strong>Peppino<\/strong>\u00a0<\/strong>Ortoleva<\/strong><\/h2>\nIn the Beginning Was a Murder. The Changing Meanings, and Pleasures, of Crime<\/strong><\/p>\nFull Professor Peppino\u00a0Ortoleva from Universit\u00e0 di Torino started his speech on the gratifications we get from following a crime story by mentioning The Mechanics of Emotion<\/em> (1913): in this article, Cohan and Nathan argue \u201cthere are emotional reflexes as well as physical reflexes\u201d. Professor Ortoleva went on to recall the Latin etymology of \u201cemotion\u201d (to move<\/em>), claiming that movements of the psyche are essential for crime stories. Introducing what he calls \u201cthe field of the gratifications tied to detective fiction\u201d, Professor Ortoleva started to explore \u201cthe vertices of this rough pentagon\u201d and finally tried to consider the whole area: for instance, he mentioned the need for \u201ca spice of danger\u201d expressed by Agatha Christie\u2019s Poirot, which blends with the vicarious experience of the audience; in fact, \u201cnoir genre is full of danger\u201d and what makes it so interesting is the shift in emotions it provokes. Professor Ortoleva concluded that it is incorrect to regard a particular emotion as central, since \u201cit is a field open to further investigation\u201d.<\/p>\nDuring the discussion following the keynote speech, Full Professor Maurizio Ascari from Universit\u00e0 di Bologna asked a few questions to Professor Ortoleva, who claimed, for instance, that nowadays \u201cthe notion of genre is partially blurred\u201d and that according to him the two main supergenres in contemporary mass culture are noir and melodrama.<\/p>\n
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Concluding round table: Research Impact in the Humanities – New Directions<\/strong><\/h2>\nAssociate Professor Luca Barra from Universit\u00e0 di Bologna chaired this discussion that involved the testimonies of research projects like DETECt, ViCTOR-E and CInCIt. Full Professor Monica Dall\u2019Asta from Universit\u00e0 di Bologna and PI of DETECt Project pointed out what guided her team in the elaboration and evaluation of the project, of which one of the most successful activities has been the Screenwriting Contest itself, which highlighted \u201cwhat it means to be European today in popular culture products\u201d. Next, Full Professor Valentina Carla Re from Link Campus University, after hinting at the project results in terms of impact, offered some provocations considering the critical issues they have faced as scholars and researchers: for instance, she wondered \u201chow can we make dissemination and promotion more interesting and attractive for researchers\u201d or\u00a0\u201chow to manage an international press office\u201d. Moving from DETECt, Full Professor Francesco Pitassio from Universit\u00e0 degli\u00a0Studi di Udine and PI of HERA ViCTOR-E Project mentioned some \u201cpitfalls and advantages of measuring and assessing the impact of a research project\u201d. Next, Associate Professor Simon Popple from University of Leeds talked about \u201cthe slightly different concept of impact\u201d they have in the UK, which is closer to the concept of \u201csocial consequences of research\u201d. Finally, Full Professor Massimo Scaglioni from Universita\u0300 Cattolica del Sacro Cuore and PI of CinCIt Project suggested the importance of interpreting impact \u201cas a substantial concept\u201d and later mentioned some of the project\u2019s academic challenges.<\/p>\n
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DETECt Screenwriting Contest Award Ceremony<\/h2>\n
The award ceremony was preceded by a conversation with writer and Jury President Maurizio De Giovanni. Interviewed by writer and Associate Professor Alessandro Perissinotto from Universit\u00e0 di Torino, Jury President De Giovanni wanted to congratulate all finalists of the Screenwriting Contest for their new takes on crime fiction: in fact, he went on to talk about the reasons for the success of the crime genre, which DETECt Project has demonstrated to be international in scope. Next, hinting at the role played by literature in leading the way to TV seriality, the Jury President commented on his choice to take a close interest in the transformation of his novels into TV series. Moving to the setting of his literary series, he mentioned how important it is for him to portray a city of Naples that is far from postcard stereotypes, as in the case of \u201cI bastardi di Pizzofalcone\u201d (2017-present).<\/p>\n
Approaching the proclamation of the winner, Ben Harris, Head of Programme for Serial Eyes, asked Jury members Steve Matthews (HBO Europe), Karen Hassan (Cattleya) and Giacomo Poletti (Mediaset Group) about their impressions of the projects to get an insight into how the mind of an industry executive works.<\/p>\n
It was then the turn of two special mentions: the Special Mention for the Best Character(s), given by Link Campus University Student Staff, went to Peff and Solo from \u201cSilver Ghost\u201d by Carsten Jaeger, and the Special Mention given by DETECt Researchers went to \u201cRed Planet Blues\u201d by Harry Ayiotis. Finally, Jury member Karen Hassan, on behalf of the International Jury, announced the winner of DETECt Screenwriting Contest: \u201cMagerdo\u201d by Ewa Stec, for addressing \u201csocial and cultural tensions that can be of interest to viewers across Europe\u201d and presenting \u201ca suspenseful cat and mouse game between its main characters […] as a good crime story should do\u201d.<\/p>\n
Full Professor Valentina Carla Re closed the DETECt Conference thanking again all the Jury members and Ben Harris and congratulating all the participants of the Screenwriting Contest.<\/p>\n
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