{"id":832,"date":"2023-06-30T08:26:58","date_gmt":"2023-06-30T06:26:58","guid":{"rendered":"https:\/\/atlantedelgiallo.unilink.it\/?p=832"},"modified":"2023-09-13T16:46:58","modified_gmt":"2023-09-13T14:46:58","slug":"volti-e-scene-del-crimine-cinergie","status":"publish","type":"post","link":"https:\/\/atlantedelgiallo.unilink.it\/index.php\/2023\/06\/30\/volti-e-scene-del-crimine-cinergie\/","title":{"rendered":"Volti e scene del crimine \/ Crime Unmasked"},"content":{"rendered":"\n<h3 class=\"wp-block-heading has-text-align-center\"><strong><strong>Cinergie. Il cinema e le altre arti<\/strong><br>n. 25\/2024 \u2013 a cura di\/edited by Giulia Scomazzon, Arianna Vergari<br><strong>Deadline: 02\/10\/2023<\/strong><\/strong><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">[English version below] <\/p>\n\n\n\n<h3 class=\"wp-block-heading has-text-align-center\"><strong>Volti e scene del crimine. Morfologie del giallo italiano tra influssi transnazionali e ibridazioni intermediali<\/strong><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Se gi\u00e0 tra le due guerre in Italia si innesca un vivace dialogo intermediale che spinge il&nbsp;<em>giallo<\/em>&nbsp;oltre i confini della letteratura (Mazzei e Valentini, 2017; Curti 2022), \u00e8 a partire dal secondo dopoguerra, e in particolare con l\u2019avvento della televisione, che il genere&nbsp;<em>crime<\/em>&nbsp;(Calabrese e Rossi, 2018; Pieri 2011; Priestman 2009; Knight 2004) si ramifica nella cultura popolare, esplodendo in una rifrazione di forme, produzioni, atmosfere, stili, volti.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Le rappresentazioni del crimine dentro il macrogenere transmediale del&nbsp;<em>giallo<\/em>&nbsp;hanno cos\u00ec accompagnato e interpretato alcune fondamentali trasformazioni culturali e sociali italiane, in un arco di tempo che va dagli anni \u201850 a oggi. La polarit\u00e0&nbsp;<em>detection<\/em>&nbsp;e atto criminale \u2013 nucleo del plot del giallo \u2013 esprime, da un lato, la complessit\u00e0 morfologica del genere, la sua permeabilit\u00e0 a modelli e ad archetipi narrativi sia autoctoni sia internazionali e, dall\u2019altro, si presenta come cassa di risonanza delle ansie sociali relative ai fenomeni criminali nelle democrazie liberali contemporanee (Biressi 2001) e delle tensioni e dei desideri delle societ\u00e0 occidentali (Perissinotto 2008).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In questa direzione il&nbsp;<em>giallo<\/em>&nbsp;si fa dispositivo euristico in grado di cogliere e decifrare i sintomi di un cambiamento socio-culturale in atto, cos\u00ec come \u00e8 in grado di rivelare i segni traumatici di eventi storici passati (Pezzotti 2014) o le tracce dell\u2019evoluzione delle teorie e delle prassi del diritto penale, in special modo nelle oscillazioni tra il modello inquisitorio e quello accusatorio (Amodio 2016), che spesso, sul piano del racconto, si riflettono nello sviluppo e nell\u2019ibridazione di due paradigmi narrativi differenti: la&nbsp;<em>detective fiction<\/em>&nbsp;e il&nbsp;<em>procedural drama<\/em>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Altrettanto significativo da un punto di vista culturale \u00e8 il modo in cui il&nbsp;<em>giallo<\/em>&nbsp;riesce a intercettare e rielaborare i paradigmi della femminilit\u00e0 e mascolinit\u00e0 in determinati periodi storici, attraverso trame e strategie visive che problematizzano il rapporto tra ruoli socialmente prescritti, personaggi e identit\u00e0 di genere e in cui spesso risaltano le contraddizioni legate a stereotipi e posizioni egemoniche (Dresner 2007; Gates 2011; Buonanno 2017; Re e D\u2019Amelio 2021).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">L\u2019obiettivo del numero monografico&nbsp;\u2013 sviluppato all\u2019interno del progetto Prin 2020 \u201cAtlante del giallo. Storia dei media e cultura popolare in Italia (1954-2020)\u201d \u2013&nbsp;\u00e8 l\u2019analisi della messa in scena di criminali e rappresentanti della legge e delle istituzioni, attraverso i legami intermediali tra televisione, cinema, radio, immaginario romanzesco, giornalismo d\u2019inchiesta e cronaca nera. L\u2019indagine sui modi di rappresentazione di queste figure consentir\u00e0 di mettere a fuoco il loro valore\/ruolo in rapporto ai processi di costruzione e deformazione dell\u2019immagine pubblica del crimine e della giustizia.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Analizzando ricorrenze e variazioni di schemi e formule espressive, questo numero intende aprire uno spazio di riflessione sulle traiettorie diacroniche e sincroniche, oltre che geografiche, che hanno generato nuove configurazioni identitarie e culturali all\u2019interno delle narrazioni&nbsp;<em>crime<\/em>&nbsp;italiane. I soggetti che attraversano gli spazi della&nbsp;<em>detection&nbsp;<\/em>possono essere studiati nelle loro molteplici evoluzioni estetico-rappresentative, tenendo conto anche dell\u2019importanza dei cambiamenti nei contesti produttivi o, ancora, delle risposte spettatoriali, soprattutto dinanzi a forme di&nbsp;<em>branding&nbsp;<\/em>(Turnbull 2019) e di meccanismi che ancorano talvolta in modo continuativo un ruolo a un\u2019immagine divistica.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Contestualmente, un approccio interdisciplinare al&nbsp;<em>giallo<\/em>, in grado di confrontarsi con le diverse vie interpretative, percorribili attraverso i terreni dei&nbsp;<em>Media Studies<\/em>, della sociologia, della criminologia, dei&nbsp;<em>Legal Studies<\/em>&nbsp;e della riflessione filosofica sui temi della colpa e della responsabilit\u00e0, si configura come un accesso privilegiato alle questioni conoscitive, politiche e relative all\u2019identit\u00e0 di genere che questo numero monografico vuole mettere a fuoco.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Il numero di Cinergie intende raccogliere contributi focalizzati principalmente, ma non solo, sui seguenti punti:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>La figura dell\u2019investigatore e dell\u2019investigatrice all\u2019interno o all\u2019esterno delle istituzioni statali: tutori della legge, giornalisti d\u2019inchiesta, scrittori o privati cittadini, tra professionismo e amatorialit\u00e0.<\/li>\n\n\n\n<li>Gli sviluppi e le modalit\u00e0 di rappresentazione delle figure legate alla difesa dell\u2019imputato e alla messa in scena della vittima come parte civile nel processo, fuori dagli schemi della&nbsp;<em>detection<\/em>&nbsp;classica e spesso in una posizione di problematico fuori campo, tanto nella fase investigativa quanto in quella processuale.<\/li>\n\n\n\n<li>Il rapporto tra indagine, processo e verit\u00e0 nella rappresentazione&nbsp;<em>crime<\/em>&nbsp;o&nbsp;<em>true crime<\/em>&nbsp;nazionale in una prospettiva diacronica, intermediale e interdisciplinare.<\/li>\n\n\n\n<li>Le evoluzioni attraverso cui le ibridazioni di generi diversi e gli influssi internazionali ridefiniscono i modelli maschili e femminili di&nbsp;<em>detection<\/em>&nbsp;come posizionalit\u00e0 discorsive nel contesto italiano.<\/li>\n\n\n\n<li>La relazione tra identit\u00e0 di genere e messa in scena della violenza nella dialettica tra trasgressione criminale e ripristino punitivo dell\u2019ordine sociale.<\/li>\n\n\n\n<li>Le atmosfere e gli spazi della narrazione del&nbsp;<em>giallo<\/em>&nbsp;come figure narrative e simboliche significative, in cui l\u2019attraversamento dei luoghi diviene pratica espressiva in grado di attivare ulteriori livelli di indagine identitaria.<\/li>\n\n\n\n<li>Le scene dell\u2019azione criminale, investigativa, processuale e punitiva (luoghi del delitto, commissariati, tribunali, prigioni, ecc.).<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Riferimenti bibliografici<\/strong><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">E. Amodio,&nbsp;<em>Estetica della giustizia penale. Prassi, media, fiction<\/em>, Giuffr\u00e8 Editore, Milano 2016.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A. Biressi,&nbsp;<em>Crime, Fear and the Law in True Crime Stories<\/em>, Palgrave Macmillan UK, London 2001.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">M. Buonanno,&nbsp;<em>Television Antiheroines. Women Behaving Badly in Crime and Prison Drama<\/em>, Intellect, Bristol-Chicago 2017.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">S. Calabrese, R. Rossi,&nbsp;<em>La crime fiction<\/em>, Carocci, Roma 2018.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">R. Curti,&nbsp;<em>Italian Giallo in Film and Television.&nbsp;<\/em><em>A Critical History<\/em>, McFarland &amp; Company, Jefferson 2022.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">L.M. Dresner,&nbsp;<em>The Female Investigator in Literature, Film and Popular Culture<\/em>, McFarland, Jefferson 2007.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">P. Gates,&nbsp;<em>Detecting Women. Gender and the Hollywood Detective Film<\/em>, State University of New York Press, New York 2011.&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">S. Knight,&nbsp;<em>Crime Fiction 1800-2000<\/em>, Palgrave Macmillan, New York 2004.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">L. Mazzei, P. Valentini (a cura di),&nbsp;<em>Giallo italiano<\/em>, \u00abBianco e nero\u00bb, 587, 2017.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A. Perissinotto,&nbsp;<em>La societ\u00e0 dell\u2019indagine<\/em>, Bompiani, Milano 2008.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">B. Pezzotti,&nbsp;<em>Investigating Italy\u2019s Past through Historical Crime fiction, Films, and TV Series. Murder in the Age of Chaos<\/em>, Palgrave MacMillan, New York 2014.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">G. Pieri (a cura di),&nbsp;<em>Italian Crime Fiction<\/em>, University of Wales Press, Cardiff 2011.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">M. Priestman,&nbsp;<em>The Cambridge Companion to Crime Fiction<\/em>, Cambridge University Press, Cambridge 2009.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">V. Re, E. D\u2019Amelio,&nbsp;<em>\u00abUn lavoro inadatto a una donna\u00bb: protagoniste femminili nella serialit\u00e0 crime italiana<\/em>, \u00abArabeschi\u00bb, 18, 2021.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">G. Scomazzon,&nbsp;<em>Crimine, colpa e testimonianza. Sulla performativit\u00e0 documentaria<\/em>, Mimesis, Milano-Udine 2021.&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">S. Turnbull,&nbsp;<em>Crime. Storia, miti e personaggi delle serie TV pi\u00f9 popolari<\/em>, Minimum Fax, Roma 2019.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Scadenze e istruzioni<\/strong><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Si richiede l\u2019invio di un&nbsp;<strong>abstract di 300-500 parole<\/strong>&nbsp;(insieme a una breve biografia del proponente)&nbsp;<strong>entro il 2 ottobre 2023<\/strong>&nbsp;a giulia.scmzn@gmail.com e&nbsp;a.vergari@unilink.it [oggetto: Cinergie Volti e scene del crimine + nome cognome autore\/autrice].<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">La conferma di accettazione avverr\u00e0 entro il&nbsp;<strong>9 ottobre 2023<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nel caso in cui la proposta venga accettata, l\u2019articolo dovr\u00e0 pervenire&nbsp;<strong>entro il 15 dicembre 2023<\/strong>&nbsp;e dovr\u00e0 avere lunghezza&nbsp;<strong>non superiore alle 6000 parole<\/strong>&nbsp;e potr\u00e0 includere immagini, clip e link.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">All\u2019autore\/autrice \u00e8 richiesto di chiarire autorizzazioni e diritti di pubblicazione per eventuali documenti iconografici o d\u2019archivio inclusi nella pubblicazione.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Gli articoli saranno sottoposti a valutazione double blind.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">La pubblicazione del numero n. 25 di Cinergie \u00e8 prevista per luglio 2024.<\/p>\n\n\n\n<h3 class=\"wp-block-heading has-text-align-center\"><strong>Crime Unmasked. <strong>Exploring the Morphologies of Italian Giallo through Transnational Influences and Intermedial Hybridization<\/strong><\/strong><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">If a lively intermedial dialogue emerges between the two world wars in Italy, pushing the <em>Giallo <\/em>beyond the boundaries of literature (Mazzei and Valentini, 2017; Curti 2022), it is after the end of the Second World War, and especially with the advent of television, that the crime genre (Calabrese and Rossi, 2018; Pieri 2011; Priestman 2009; Knight 2004) branches out into popular culture, exploding in a multitude of forms, productions, atmospheres, styles, and characters.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">If a lively intermedial dialogue emerges between the two world wars in Italy, pushing the <em>Giallo <\/em>beyond the boundaries of literature (Mazzei and Valentini, 2017; Curti 2022), it is after the end of the Second World War, and especially with the advent of television, that the crime genre (Calabrese and Rossi, 2018; Pieri 2011; Priestman 2009; Knight 2004) branches out into popular culture, exploding in a multitude of forms, productions, atmospheres, styles, and characters.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In this respect, the <em>Giallo<\/em> becomes a heuristic device capable of capturing and deciphering the symptoms of an ongoing socio-cultural change, as well as revealing the traumatic signs of past historical events (Pezzotti 2014) or the traces of the evolution of criminal law theories and practices, especially in the oscillations between the inquisitorial and the accusatory models (Amodio 2016). At the narrative level, these models are often reflected in the development and hybridization of two different narrative paradigms: <em>detective fiction<\/em> and <em>procedural drama<\/em>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Equally significant from a cultural perspective is <em>Giallo<\/em>&#8216;s ability to intersect and reinterpret the paradigms of femininity and masculinity within specific historical periods. It accomplishes this through the use of plots and visual strategies that problematize the relationship between socially prescribed roles, characters, and gender identity, often highlighting contradictions related to stereotypes and hegemonic positions (Dresner 2007; Gates 2011; Buonanno 2017; D\u2019Amelio and Re 2021).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The aim of the monographic issue \u2013 developed within the Prin 2020 project <em>The Atlas of Italian \u201cGiallo\u201d: Media History and Popular Culture (1954-2020)<\/em> \u2013 is to analyze the depiction of criminals and representatives of the law and institutions, exploring the intermedial connections between television, cinema, radio, fictional imagery, investigative journalism, and crime reporting. The analysis of how these figures are portrayed will reveal their significance and role in shaping and distorting the public perception of crime and justice.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Through the examination of recurrences and variations of patterns and expressive formulas, this issue aims to open a space for reflection on the diachronic, synchronic and geographical trajectories that have shaped new identity and cultural configurations within Italian crime narratives. The subjects that navigate the realms of detection can be studied in their diverse aesthetic and representational evolutions, taking into account changes in production contexts. Furthermore, it is important to consider the audience responses, including the impact of branding (Turnbull, 2019) and the mechanisms that sometimes associate a star image with a particular role.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Similarly, an interdisciplinary approach to the <em>Giallo<\/em> represents a privileged access to the complex web of interpretive pathways that span Media Studies, sociology, criminology, Legal Studies, and philosophical reflections on themes of guilt and responsibility. By interweaving these disciplines, this monographic issue aims to shed light on cognitive, political and gender identity issues.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This issue of Cinergie aims to collect contributions that focus on, but are not exclusively limited to, the following points:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>The figure of the investigator, whether inside or outside state institutions, including law enforcement officers, investigative journalists, writers or private citizens, between professionalism and amateurism.<\/li>\n\n\n\n<li>The developments and modes of representation of figures related to the defense of the accused and the staging of the victim as a civil party in the trial, beyond traditional patterns of detection and often in a problematic off-screen position, both in the investigative and procedural phases.<\/li>\n\n\n\n<li>The relationship between investigation, trial and truth in the national representation of crime or true crime in a diachronic, intermedial and interdisciplinary perspective.<\/li>\n\n\n\n<li> How the hybridizations of different genres and international influences redefine masculine and feminine models of detection as discursive positionalities in the Italian context.<\/li>\n\n\n\n<li>The relationship between gender identity and the staging of violence in the dialectic between criminal transgression and the punitive restoration of social order.<\/li>\n\n\n\n<li>The symbolic and narrative significance of atmospheres and spaces in the <em>Giallo<\/em> genre, where the exploration of different locations becomes an expressive practice that activates further levels of identity research.<\/li>\n\n\n\n<li>The different sites involved in criminal, investigative, judicial, and punitive actions, such as crime scenes, police stations, courts, prisons, and more.<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>References<\/strong><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">E. Amodio, <em>Estetica della giustizia penale. Prassi, media, fiction<\/em>, Giuffr\u00e8 Editore, Milano 2016.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A. Biressi, <em>Crime, Fear and the Law in True Crime Stories<\/em>, Palgrave Macmillan UK, London 2001.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">M. Buonanno, <em>Television Antiheroines. Women Behaving Badly in Crime and Prison Drama<\/em>, Intellect, Bristol-Chicago 2017.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">S. Calabrese, R. Rossi, <em>La crime fiction<\/em>, Carocci, Roma 2018.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">R. Curti, <em>Italian Giallo in Film and Television. <\/em><em>A Critical History<\/em>, McFarland &amp; Company, Jefferson 2022.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">E. D\u2019Amelio, V. Re, <em>\u00abUn lavoro inadatto a una donna\u00bb: protagoniste femminili nella serialit\u00e0 crime italiana<\/em>, \u00abArabeschi\u00bb, 18, 2021.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">L.M. Dresner, <em>The Female Investigator in Literature, Film and Popular Culture<\/em>, McFarland, Jefferson 2007.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">P. Gates, <em>Detecting Women. Gender and the Hollywood Detective Film<\/em>, State University of New York Press, New York 2011.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">S. Knight, <em>Crime Fiction 1800-2000<\/em>, Palgrave Macmillan, New York 2004.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">L. Mazzei L., P. Valentini (a cura di), <em>Giallo italiano<\/em>, \u00abBianco e nero\u00bb, 587, 2017.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Perissinotto, <em>La societ\u00e0 dell\u2019indagine<\/em>, Bompiani, Milano 2008.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">B. Pezzotti, <em>Investigating Italy\u2019s Past through Historical Crime fiction, Films, and TV Series. Murder in the Age of Chaos<\/em>, Palgrave MacMillan, New York 2014.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">G. Pieri (a cura di), <em>Italian Crime Fiction<\/em>, University of Wales Press, Cardiff 2011.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">M. Priestman, <em>The Cambridge Companion to Crime Fiction<\/em>, Cambridge University Press, Cambridge 2009.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">G. Scomazzon, <em>Crimine, colpa e testimonianza. Sulla performativit\u00e0 documentaria<\/em>, Mimesis, Milano-Udine 2021.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">S. Turnbull, <em>Crime. Storia, miti e personaggi delle serie TV pi\u00f9 popolari<\/em>, Minimum Fax, Roma 2019.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Submission details<\/strong><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Please send an abstract of 300\/500 words and a short biography to Giulia Scomazzon and Arianna Vergari at giulia.scmzn@gmail.com and a.vergari@unilink.it by October 02, 2023 &#8211; [subject: Cinergie Volti e scene del crimine+ name surname author(s)].<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Notification of acceptance will be sent within October 9, 2023.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">If the proposal is accepted, the author(s) will be asked to submit the full article by December 15, 2023.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Articles must not exceed 6,000 words and may include images, clips, and links for illustrative purposes. Please provide proper credits, permissions, and copyright information to ensure that images, clips, and links are copyright-free and can be published.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Contributions will be submitted to double-blind peer-review.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The issue will be published in July 2024.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<div class=\"wp-block-buttons is-layout-flex wp-block-buttons-is-layout-flex\">\n<div class=\"wp-block-button\"><a class=\"wp-block-button__link wp-element-button\" href=\"https:\/\/cinergie.unibo.it\/announcement\/view\/585\" target=\"_blank\" rel=\"noreferrer noopener\">Call For Paper<\/a><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Call for Essays &#8211; Cinergie. Il cinema e le altre arti n. 25\/2024 \u2013 a cura di \/ edited by Giulia Scomazzon, Arianna Vergari<br \/>\nDeadline: 02\/10\/2023.<\/p>\n","protected":false},"author":1,"featured_media":834,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[33,39,17],"class_list":["post-832","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","tag-atlante","tag-cinergie","tag-giallo"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v24.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Volti e scene del crimine \/ Crime Unmasked - Atlante del giallo<\/title>\n<meta name=\"description\" content=\"Cinergie. 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