¿El fin del fascismo?

Modern Italy: Journal of the association for the study of Modern Italy, Vol. 30 no. 2, https://doi.org/10.1017/mit.2024.73

Autor: Rosario Forlenza, Department of Political Science, Luiss University, Rome, Italy.
 rforlenza@luiss.it

 https://orcid.org/0000-0003-2939-6654

Keywords: fascism; transcendence; trickster; political form; enemy; politics of time. 

Abstract: When did fascism end? Did it end in July 1943, with the fall of Mussolini from power, or in April 1945, with Liberation Day? The argument of this article is that fascism was not simply a historical experience but a political form that attempted to transcend Italy’s social and political fractures with fantasies and unrealistic but nevertheless captivating expectations. Its hypnotic contagious power cast a mimetic spell that can be continuously reloaded: by blurring the boundaries between truth and lies; by exploiting crowd irrationality; by establishing boundaries between outsiders and insiders; by perpetuating negative sentiments of hostility, fear and envy within society; and by manipulating time. The argument, therefore, is that fascism has never ended, not merely in the sense of political and cultural continuity, but in the deeper sense of immanency within the body politic of Italy’s democracy. As such, it is meaningless to wonder whether fascism might come back. It is here and now, in the only form that current historical circumstances allow it to exist – and yet it might be countered by a process of rejection that individuals and political communities can and should exercise in their everyday life, adopting the political form generated by the Resistance.

Idioma: Inglés. 

Publicación: March 12, 2025

Volumen: Modern Italy: Journal of the association for the study of Modern Italy, Vol. 30 no. 2.

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The AI turn in journalism: Disruption, adaptation, and democratic futures.

 

Journalism: Theory, practice and critcism. Vol 27 n° 3 (March 2026); ISSN 1464-8849; DOI https://doi.org/10.1177/14648849251343518 

Autor: 

1. Tomás Dodds, Leiden University, Netherlands; Harvard University, Cambridge, MA, USA.
    oddsrojas@wisc.edu; t.dodds.rojas@hum.leidenuniv.nl
    https://orcid.org/0000-0003-4724-5307
   
   
2. Rodrigo Zamith, University of Massachusetts Amherst, Amherst, MA, USA. 
    rzamith@umass.edu
   https://orcid.org/0000-0001-8114-1734
   
   
3. Seth C Lewis, University of Oregon, Eugene, OR, USA. 
    sclewis@uoregon.edu
   https://orcid.org/0000-0001-7498-0599
   
   

Keywords: Artificial intelligence, automated journalism, AI turn, journalism, robot journalism. 

Abstract: In this essay, we argue that, unlike previous changes in digital media technologies over thepast few decades, this AI “turn” in journalism forces us to rethink journalism’s identity andits relationship with audiences. While AI complicates and challenges some existingprofessional, social, political, and economic structures, it also offers new ways to realizedesired journalistic objectives that were previously considered to be impractical, if notimpossible. Drawing on four orienting ideas—adoption and hype, power and dependency,audiences and democratic implications, and education and empowerment—we unpackthe implications of this AI turn in journalism and the consequences for the future of thejournalistic field.  

Idioma: English. 

Publicación: Marzo 2026. 

Volumen: Vol. 27, número 3.  

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Queer Cinema and Melodrama: A Perspective from Queer Directors

Cinej Cinema Journal, Vol. 13, no. 2 (2025): Fall. https://doi.org/10.5195/cinej.2025.744 

Autor: 

• Esra Yılmaz, Independent Researcher, 
  yilmazesra13@gmail.com
  https://orcid.org/0000-0002-5185-5485
  
  
• Çiğdem Tanyel Başar, İzmir Democracy University
  cigdemtanyel@gmail.com
  https://orcid.org/0000-0001-5740-336X 
  
  

Keywords: Queer cinema; melodrama; queer theory; Rainer Werner Fassbinder; Todd Haynes; Ümit Ünal.

Abstract: This article examines the relationship between queer cinema and melodrama through the works of queer directors like Rainer Werner Fassbinder, Todd Haynes, and Ümit Ünal. It explores the intersections of gender, sexuality, and queer identities, focusing on conflicts between feminist and queer theories. The study examines the historical context, aesthetic elements, and evolution of melodrama in relation to queer cinema. Through case studies and qualitative methods, including semi-structured interviews and document analysis, the findings reveal how melodrama highlights queer experiences, critiques social norms, and serves as a transformative force in queer cinema.

Idioma: English. 

Publicación: 12 de marzo del 2025. 

Volumen: Cinej Cinema Journal, Vol. 13, no. 2 (2025): Fall. 

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Reinforcing or Rethinking? What Do News Consumers Want From Journalism in the Post-Truth Era?

Media and Communication, Vol 13 (2025): Protecting Democracy From Fake News: The EU’s Role in Countering Disinformation. https://doi.org/10.17645/mac.8823

Autor: 

1. Martin Moland, ARENA—Centre for European Studies, University of Oslo, Norway.
    martin.moland@arena.uio.no 
    m.moland@hertie-school.org
    https://orcid.org/0000-0002-9570-323X
   
   
2. Jacopo Custodi, Department of Political and Social Sciences, Scuola Normale Superiore, Italy. 
    jacopo.custodi@sns.it
    https://orcid.org/0000-0003-4606-7545
   
   
3. Hans-Jörg Trenz, Department of Political and Social Sciences, Scuola Normale Superiore, Italy.
    Hansjorg.trenz@sns.it
    https://orcid.org/0000-0002-3479-7498

Keywords: disinformation; fake news; journalism; journalistic quality; post-truth politics; public opinion. 

Abstract: Policymakers and news producers have long grappled with the challenges that fake news and misinformation pose to quality journalism. This has given rise to an extensive body of literature, covering various aspects from the characteristics of fake news to strategies for addressing it. However, the preferences of news consumers regarding the future of journalism and their views on how journalistic commitment to truth can best be maintained remain relatively overlooked in scholarly research. This article utilizes primary data from a survey (N = 4,521) fielded in Norway, Italy, and Poland in 2023 to show that, even in contemporary media environments, people continue to regard traditional journalistic ideals as the normative goals for future journalism. This suggests that journalists in an age of post-truth should focus less on rethinking journalism and more on adhering to its traditional goals of unbiased dissemination of facts. 

Idioma: Inglés. 

Publicación: 9 de abril del 2025

Volumen: Vol. 13 (2025): Protecting Democracy From Fake News: The EU’s Role in Countering Disinformation. 

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Old Threats, New Name? Generative AI and Visual Journalism

 Journalism Practice (2025), VOL. 19, NO. 10, https://doi.org/10.1080/17512786.2025.2451677

Autor: 

1. Matich, Phoebe; School of Communication, Queensland University of Technology, Brisbane, Australia
    phoebe.matich@hdr.qut.edu.au
    https://orcid.org/0000-0003-2015-3736
   
   
2. Thomson, T. J.; School of Media andCommunication, RMIT University, Melbourne, Australia.
    t.j.thomson@rmit.edu.au
    https://orcid.org/0000-0003-3913-3030
   
   
3. Thomas, Ryan J.; Edward R. Murrow College of Communication,Washington State University, Pullman, USA. 
    ryan_thomas@wsu.edu
    http://orcid.org/0000-0001-5228-631X

Keywords: Generative AI; generative artificial intelligence; journalistic threats; visual journalism; misinformation; objectivity; labour; journalistic disruption. 

Abstract: Generative AI applications have been hailed as “transformative”, “disruptive”, and posing a “threat to human journalists and media professionals.” Much of this discourse reflects long standing concerns about the impact of technological change on both the production and consumption ends of journalism. Perhaps nowhere is this felt more strongly than in visual journalism, where fears about AI replacing cameras and associated implications are rife. These concerns resemble earlier debates about visual technologies, from the smartphone camera to social media, and intersect with fundamental debates about journalism’s boundaries and norms: what news “is”, how it is produced, and what weexpect it to achieve. Amidst this hype and anxiety, we offer ananalysis of AI’s risks to visual journalism that contextualises this technology against journalism’s existing tensions. Our study asks: How unique are the threats that generative AI poses to visual news? Specifically, we look across academic disciplines to interrogate three threats that are especially prevalent in the literature. Our conceptual evaluation is benefited empirically by dozens of industry perspectives spanning three continents, and allows us to identify exactly which threats, if any, that generative AI poses to visual journalism are new, and which are extant threats folded into more longstanding discourses.

Idioma: Inglés.  

Publicación: 11 de enero del 2025. 

Volumen: Journalism Practice (2025), VOL. 19, NO. 10.

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Lectura de El viaje de Chihiro desde el simbolismo global moderno: una sátira menipea de animación

Con A de Animación, n° 20 (2025): To Be Continued. https: //doi.org/10.4995/caa.2025.21789

Autor: Antonio Viñuales Sánchez, Universidad de Zaragoza, España.
 avinuales@unizar.es
https://orcid.org/0000-0002-0201-5973

Keywords: El viaje de Chihiro, Hayao Miyazaki, animación, simbolismo moderno, sátira menipea.

Abstract: More than two decades of studies on Spirited Away have passed, focusing on illuminating yet fragmentary aspects such as traditional Japanese symbolism or its relationship with literary and animated works. Consequently, it is time to attempt an integrative reading to better explain its worldwide success. To do so, we will start from the framework of a theory of modern global symbolism, understood as a capital of images with which the arts represent the crossroads of today's world. This reading will consist of two moments. First, we will describe its main symbols and suggest their origin and meanings. The journey, the child character, the crisis, education, the androgyne and the destruction of the idyll stand out. Next, we will deduce its genre from the special combination of these figures. It is, as we shall see, the Menippean satire. A protean and millenary genre, but with a global presence, especially in fantastic and animation cinema.

Resumen: Tras más de dos décadas de estudios sobre El viaje de Chihiro, centrados en aspectos iluminadores —aunque parciales—, como el simbolismo tradicional japonés o la relación con obras literarias y de animación, es momento de intentar una lectura integradora que se compadezca mejor con su éxito mundial. Partiremos para ello del marco de una teoría del simbolismo global moderno, entendido como el capital de imágenes con el que las artes representan las encrucijadas del mundo actual. Esta lectura contará con dos momentos. Primero, describiremos sus figuras principales y sugeriremos su origen y sus sentidos. Destacan el viaje, el personaje infantil, la crisis, la educación, el andrógino y la destrucción del idilio. Seguidamente, deduciremos su género cinematográfico de la especial combinación de estas figuras: la sátira menipea. Un género proteico y milenario, muy poco reconocido, pero con presencia global, en especial en el cine fantástico y de animación.

Idioma: Español 

Publicación: 7 de marzo de 2024. 

Volumen: Con A de Animación, n° 20 (2025): To Be Continued.  

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Cine, periodismo y creación de memorias sobre la Segunda Guerra Mundial.

Question Vol. 3, n°81 agosto 2025. https://doi.org/10.24215/16696581e995 

Autor: 

1. Verbena Córdula Almeida, Universidade Estadual de Santa Cruz-Bahia, Brasil. 
    vcalmeida@uesc.br
   https://orcid.org/0000-0003-3696-3928
   
   
   
   

Keywords: Cine; Segunda Guerra Mundial; Memoria histórica; Prensa; Unión Soviética.

Abstract: This paper proposes a critical reflection on the role of cinema and journalism in the construction of Western memory of World War II. I targues that, while cinema has emancipatory potential, it also operates, under the logic of the Culture Industry, as an ideological apparatus serving dominant geopolitical interests—particularly inlegitimizing the US role in the war. Through ananalysis based on authors such as Pierre Bourdieu, Marilena Chauí, JB Thompson, and Muniz Sodré, the text highlight show Hollywood and the mainstream press shaped public perception, obscuring the Soviet Union's fundamental role in the defeat of Nazism.

Resumen: Este trabajo propone una reflexión crítica sobre el papel del cine y el periodismo en la construcción de la memoria occidental de la Segunda Guerra Mundial. Se argumenta que, si bien el cine tiene un potencial emancipador, también opera, bajo la lógica de la Industria Cultural, como un aparato ideológico al servicio de intereses geopolíticos dominantes —especialmente en la legitimación del protagonismo estadounidense en la guerra—. A través de un análisis basado en autores como Pierre Bourdieu, Marilena Chauí, JB Thompson y Muniz Sodré, el texto destaca cómo Hollywood y la prensa hegemónica moldearon la percepción pública, ocultando el papel fundamental de la Unión Soviética en la derrota del nazismo. 

Idioma: Español. 

Publicación: Agosto 2025.

Volumen: Question/Cuestión, Vol. 3, N° 81, agosto 2025.

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