This interview with director and screenwriter Ludovico Bessegato of Skam Italia (2018–2024) and Prisma (2022–2024) fame explores what it is like to work on/in Italian youth television. Speaking specifically about themes of diversity, representation, artistic freedom, and the constraints of industry, Bessegato paints a political picture of a television whose audience expects certain content, whose talent pool is still limited, whose cultural positionality is continually attacked by the country’s right-wing politicians, and whose position within the broader global and mediatic frames reveals its complicated level of worth and importance. In this short conversation, Bessegato discusses Italian youth audiences, noting that understanding cultural frameworks is essential when adapting content for new audiences (as was the case for him with Skam). He then underscores the difference between representations of diversity that are created because of quota obligations, and those that seek to do justice to these unique experiences. Despite the politics of the youth television landscape in Italy, Bessegato reminds us of its position within a broader mediasphere, begging us, as readers, and consumers of media, to reflect on the way the media with which we engage, and our modes of engagement all contribute to paving the way for greater or lesser inclusion.

错误:搜索内容不能为空,请输入英文关键词
错误:关键词超出字数限制,请精简
高级检索

Youth Culture, Diversity, and Italianness on Television: An Interview with Ludovico Bessegato

  • Julia Heim

摘要

This interview with director and screenwriter Ludovico Bessegato of Skam Italia (2018–2024) and Prisma (2022–2024) fame explores what it is like to work on/in Italian youth television. Speaking specifically about themes of diversity, representation, artistic freedom, and the constraints of industry, Bessegato paints a political picture of a television whose audience expects certain content, whose talent pool is still limited, whose cultural positionality is continually attacked by the country’s right-wing politicians, and whose position within the broader global and mediatic frames reveals its complicated level of worth and importance. In this short conversation, Bessegato discusses Italian youth audiences, noting that understanding cultural frameworks is essential when adapting content for new audiences (as was the case for him with Skam). He then underscores the difference between representations of diversity that are created because of quota obligations, and those that seek to do justice to these unique experiences. Despite the politics of the youth television landscape in Italy, Bessegato reminds us of its position within a broader mediasphere, begging us, as readers, and consumers of media, to reflect on the way the media with which we engage, and our modes of engagement all contribute to paving the way for greater or lesser inclusion.