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In Italy, hosting film and TV shoots has become a strategic business for the national economic development and for increasing tourism. To attract film and television crews, local and national public institutions introduced funds, tax incentives and free services which nowadays are key tools for an original competition among cities, regions, and countries. Within this scenario, Indian companies are an appealing target since India is the main film producer in the world, and the economic conditions of its inhabitants (which are potential spectators and tourists) are improving. This chapter aims to investigate: a) the push factors that induce Indian producers to leave India; b) the initiatives undertaken by Italian public and private stakeholders for attracting Indian producers; c) pro and cons for all the stakeholders involved in the India-Italy collaboration. The analysis is supported by an interview with a production service company that works with Indian producers shooting in Italy. The chapter is the follow-up of a research undertaken by the two authors nine years ago on the same topic. It extends the study period (now from 2010 to early 2022) and thus offers a more reliable panorama about the India-Italy collaboration.

L’intervento si propone di offrire un’analisi di scenario delle difficoltà che l’industria del cinema sta affrontando in una fase di progressiva uscita dalla pandemia di Sars-Cov-2. L’industria cinematografica ha infatti subito, negli ultimi anni, l’effetto combinato dell’evoluzione del mercato e dello scenario tecnologico, con la nascita e lo sviluppo delle piattaforme, ma anche dei due anni di pandemia: ciò ha generato l’attuale stato di crisi, soprattutto delle sale cinematografiche. Finalità dell’intervento è quella di vagliare i temi e le problematiche che appaiono più rilevanti e urgenti, come spunti per la riflessione e la discussione.

Con meno 70% di spettatori rispetto all’epoca pre-pandemica, il cinema italiano vive un declino che appare inarrestabile, i cui sintomi erano però comparsi prima della pandemia. Il lockdown, con la serrata delle sale, è stato semmai l’acceleratore della crisi. Che fare? Arrendersi a un destino che appare già scritto o coltivare l’ottimismo della volontà, nuotando controcorrente spinti da una rinnovata azione politico-culturale? Il tema, dall’importanza fondamentale visto il peso dell’audiovisivo per la nostra economia, è stato al centro del seminario 'Politiche culturali e scenari economici per il futuro del cinema italiano' organizzato dall’Ente dello Spettacolo a Castiglione del Lago (PG), in occasione della manifestazione Castiglione Cinema - RdC incontra e nell’ambito del progetto 'Il 75° anniversario della Fondazione Ente dello Spettacolo' realizzato grazie al contributo della Direzione Generale Cinema e Audiovisivo del Ministero della Cultura. Interventi di Pedro Armocida, Gianluca Arnone, Robert Bernocchi, Gianni Canova, Paola Casella, Riccardo Costantini, Marco Cucco, Steve Della Casa, Domenico Dinoia, Giorgio Gosetti, Giampaolo Letta, Francesco Ranieri Martinotti, Davide Milani, Massimiliano Orfei, Federico Pontiggia, Cristina Priarone, Davide Rampello, Francesco Rutelli, Massimo Scaglioni, Stefania Ulivi, Cecilia Valmarana.

In the last twenty years, the relationship between media production and places has been a key topic in the field of media studies. Despite that, in the post-lockdown world this relationship still needs to be properly investigated since nowadays it embodies new meanings that invite media scholars to redefine their understanding of how media may serve and/or impact places and vice versa; the capability of film and audiovisual production to serve places needs to be reconsidered through the lens of sustainability and its three pillars: economic sustainability, environmental sustainability, and social sustainability. This reconceptualization challenges the widely accepted idea of a win-win relationship between audiovisual production and places. In doing that, it invites to distinguish between good and bad practices, to investigate complex networks of stakeholders that pursue different goals, to adopt new research perspectives and research tools that allow media scholars to fruitfully address the most urgent issues on the political agenda. Starting from these considerations, this issue of “Comunicazioni Sociali” invites international scholars to discuss the economic, touristic, and cultural impact of audiovisual productions (films, documentaries, scripted and unscripted TV products) on the host places considering both the contemporary unprecedented scenario and the concept of sustainability. The six articles composing this issue prove that the relationship between audiovisual production and sustainability in the post-pandemic era is multifaceted and cannot be fully understood through the traditional scholarship and research tools of the film and media studies community.

In the last twenty years, the relationship between media production and places has been a key topic in the field of media studies. Despite that, in the post-lockdown world this relationship still needs to be properly investigated since nowadays it embodies new meanings that invite media scholars to redefine their understanding of how media may serve and/or impact places and vice versa; the capability of film and audiovisual production to serve places needs to be reconsidered through the lens of sustainability and its three pillars: economic sustainability, environmental sustainability, and social sustainability. This reconceptualization challenges the widely accepted idea of a win-win relationship between audiovisual production and places. In doing that, it invites to distinguish between good and bad practices, to investigate complex networks of stakeholders that pursue different goals, to adopt new research perspectives and research tools that allow media scholars to fruitfully address the most urgent issues on the political agenda. Starting from these considerations, this issue of “Comunicazioni Sociali” invites international scholars to discuss the economic, touristic, and cultural impact of audiovisual productions (films, documentaries, scripted and unscripted TV products) on the host places considering both the contemporary unprecedented scenario and the concept of sustainability. The six articles composing this issue prove that the relationship between audiovisual production and sustainability in the post-pandemic era is multifaceted and cannot be fully understood through the traditional scholarship and research tools of the film and media studies community.

Background: Direct-acting antivirals are highly effective for the treatment of hepatitis C virus (HCV) infection, regardless race/ethnicity. We aimed to evaluate demographic, virological and clinical data of HCV-infected migrants vs. natives consecutively enrolled in the PITER cohort. Methods: Migrants were defined by country of birth and nationality that was different from Italy. Mann-Whitney U test, Chi-squared test and multiple logistic regression were used. Results: Of 10,669 enrolled patients, 301 (2.8%) were migrants: median age 47 vs. 62 years, (p < 0.001), females 56.5% vs. 45.3%, (p < 0.001), HBsAg positivity 3.8% vs. 1.4%, (p < 0.05). Genotype 1b was prevalent in both groups, whereas genotype 4 was more prevalent in migrants (p < 0.05). Liver disease severity and sustained virologic response (SVR) were similar. A higher prevalence of comorbidities was reported for natives compared to migrants (p < 0.05). Liver disease progression cofactors (HBsAg, HIV coinfection, alcohol abuse, potential metabolic syndrome) were present in 39.1% and 47.1% (p > 0.05) of migrants and natives who eradicated HCV, respectively. Conclusion: Compared to natives, HCV-infected migrants in care have different demographics, HCV genotypes, viral coinfections and comorbidities and similar disease severity, SVR and cofactors for disease progression after HCV eradication. A periodic clinical assessment after HCV eradication in Italians and migrants with cofactors for disease progression is warranted.

A partire dalla fine degli anni Novanta l’industria audiovisiva indiana ha intensificato il numero di riprese effettuate all’estero, in particolar modo nei paesi occidentali. Questa migrazione di riprese rappresenta una grande occasione per i paesi ospitanti. L’industria cinematografica indiana, infatti, è la più prolifica al mondo e i suoi film riscuotono un ampio successo nel mercato domestico, con una quota di mercato stimata attorno al 90-95%. Ma il cinema indiano sta raccogliendo consensi anche all’estero, e i suoi spettatori non appartengono più solo alle classi popolari della società indiana, ma anche a quelle più facoltose, e dunque sono potenzialmente in grado di intraprendere viaggi verso i luoghi visti sul grande schermo. In virtù di queste considerazioni, il saggio analizza innanzitutto le ragioni che hanno spinto i produttori indiani a delocalizzare le proprie riprese all’estero, in particolar modo in Italia. Solo alla luce di questa analisi della domanda, infatti, è poi possibile comprendere come i territori possono aver intercettato le necessità dell’industria del cinema (e di riflesso anche i desideri del suo pubblico) e divenire potenziali mete turistiche per gli spettatori indiani. Da un punto di vista metodologico, invece, il saggio ambisce a mostrare come gli studi condotti nell’ambito dell’economia dei media possano contribuire all’analisi dei fenomeni cineturistici e all’elaborazione di iniziative di successo in grado di intrecciare sviluppo territoriale e industrie creative.