Search

This article focuses on two successful Italian web personalities who work in the beauty industry and embody the overlapping between business and public identity. Clio MakeUp (Clio Zammatteo, @cliomakeup) and Estetista Cinica (Cristina Fogazzi, @estetistacinica) are two professionals whose success and personal histories are similar and different at the same time. Coming from low-to-middle-class backgrounds, they are both 'self-made-women' who managed to build two beauty enterprises (a make-up brand of the same name, the former; a skincare and beauty brand, VeraLab, the latter) tightly intertwined to their public personas. In both cases their business' success is strictly connected to two loyal online communities: Clio Zammatteo built her whole career around her online presence, starting in 2008 as the first successful Italian make-up YouTuber, reaching a large community way before she entered the beauty business with her make-up brand; Cristina Fogazzi worked her way from beautician to businesswoman, and successfully used Instagram to communicate her brand and personal philosophy, conquering a large and engaged community of followers and customers. This article will address Zammatteo's and Fogazzi's interconnected personal and professional identities from different perspectives. First, I will explore how they put themselves and their own non-conforming bodies at the centre of a communication strategy that defies conventional beauty standards and constantly connects their social media presence to their brands' body-positive and non-judgemental approach. Second, I will focus on the habit of sharing their everyday life to reinforce their public personas and their brands. Third, I will analyse how their fashion choices intersect their media presence and the conversation about normative appearance, and how they resonate with their respective communities. Finally, building on the recurring presence of their domestic space on social media, I will investigate how both Zammatteo and Fogazzi negotiated their presence, bodies and personal spaces online during the pandemic. [ABSTRACT FROM AUTHOR]

SKAM Italia, the Italian version of the Norwegian SKAM format, was first released in Spring 2018 and has reached its fourth season in May 2020, overcoming several industrial struggles and slowly engaging an increasing, young and local audience. This article aims to integrate a production–distribution and reception perspective, showing how they mutually reinforce the series' identity: the peculiarity of SKAM 's distribution system fostered the audience's engagement, until its complicated production history brought the series to a more conventional circulation. Mutual exchanges between professionals and audiences on a global level are always counterbalanced by national negotiations, influencing the series' life cycle. [ABSTRACT FROM AUTHOR]

In our article we propose an analysis of the Italian TV series Tutto Può Succedere (2015-2018), a remake of the American TV series Parenthood (2010-2015). The Italian remake precisely reproduces some Parenthood's ready-made elements: the two series share the main plot, many storylines and characters' personalities, dealing with the ups and downs of a large family, formed of four siblings, their parents and their children. We will focus on the differences and similarities of the two shows from several perspectives, such as formal and content divergences, and their cultural, social and production implications. On the one hand, the Italian remake loses the distinguishing style and the faster pace of the original series to adjust to Rai's more basic aesthetics; on the other hand, Rai chooses to focus on specific plots and characters that match its own purposes. Indee d, we can assume that the youngest characters are the means by which Raiuno tries to connect with younger viewers, and the same function is assumed by the role played by music in the series and by the on-screen presence of young Italian musicians. [ABSTRACT FROM AUTHOR]