PRIN 2022 PNRR P2022NR9PW CUP MASTER J53D23016470001
PRIN 2022 PNRR P2022NR9PW CUP MASTER J53D23016470001
The virtual exhibition Woke Screens. Forms of Diversity in Rai Fiction and Cinema is developed within the framework of the research project WokeIt. Investigating Representation, Inclusivity and Social Responsibility in RAI’s Fictional Audiovisual Productions (2015–2022), funded by the Italian Ministry of University and Research and supported by the Next Generation EU program (PRIN 2022 PNRR).
The exhibition brings together thirty analytical entries offering critical readings of films and television series produced or co-produced by Rai Fiction and Rai Cinema between 2015 and 2022. This period was chosen to capture two pivotal transformations in the Italian audiovisual landscape: the arrival of Netflix, which prompted the national industry to rethink its production and distribution strategies – broadening its audiences and heightening its awareness of diversity and inclusion – and the introduction of the “Cinema Law” (Law No. 220/2016), which established new funding mechanisms aimed at supporting both culturally significant works and the wider production sector, fostering innovation and sustainable growth.
The works featured in the exhibition were selected for their significance within contemporary debates on the representation of diversity, with particular attention to strategies of inclusion concerning cultural, ethnic, and gender minorities, as well as physical and mental disabilities.
Each entry offers a pathway that explores, for every film and television series, narrative strategies, visual languages, and the industrial policies and practices underpinning their production. It also considers modes of distribution and circulation, as well as audience and critical reception.
Through this structure, visitors are invited to navigate three interrelated levels of analysis – production, representation, and circulation/reception – which together illuminate inclusive practices, points of tension, and the complex relationship between creative freedom and social responsibility. These dynamics are examined in light of the ongoing processes of digital and commercial competition that have reshaped the Italian audiovisual landscape.
The entries are enriched with multimedia materials—trailers, clips, stills, and interviews—that guide visitors through a thematic and engaging exploration.
The analysis draws on interviews with professionals across the creative and production sectors, alongside extensive research activities that include a critical review of existing scholarship, the deconstruction of audiovisual texts, and the study of paratextual materials such as promotional content and press releases. This multi-layered approach seeks to capture the complexity of the strategies implemented by Rai in its representation of diversity.
The exhibition thus serves as a platform for critical reflection that goes beyond documenting the current state of diversity representation in Italian media. It aims instead to question the very role of public service broadcasting in contemporary Italy, examining how its commitments to inclusivity, social responsibility, and cultural relevance are articulated and negotiated within today’s media landscape.
Through this exhibition, the WokeIt project seeks to provide analytical and interpretive tools not only for scholars and professionals in the field, but also for a broader audience interested in issues of diversity within media representations.
At a time when terms such as “woke” and “woke-washing” have entered public debate, the research offers an informed and critical perspective on the cultural, political, and economic implications of narrative choices made by one of the leading players in the Italian audiovisual industry.
The first category includes a heterogeneous yet coherent set of conditions that challenge normative models of physical and mental ability.
This category primarily encompasses representations related to physical disabilities, neurodivergence (including autism, ADHD, dyslexia, etc.), and mental health – provided the latter is narratively framed as an explicit individual and social issue. For instance, depression, anxiety disorders, or psychological trauma are considered only when they play a significant role in the narrative, not when merely mentioned as secondary traits.
Also included in this category are addictions to alcohol, drugs, medications, and gambling (pathological gambling), as well as the chronic use of psychoactive substances, even when not explicitly framed as addiction. Occasional or narratively functional use (e.g., in criminal or recreational contexts) is not considered relevant, whereas portrayals that highlight the long-term and problematic effects of such use on a character’s life are.
Particular attention is given to disabling conditions—defined as chronic medical or psychophysical states that significantly impair a person’s autonomy or quality of life, regardless of age or life stage. Conversely, social vulnerabilities not connected to disability, mental health, or addiction are not included in this category. In this framework, ageism and obesity are considered only when addressed as clinical or psychological concerns.
The generational factor is thus viewed through an intersectional lens, gaining relevance only when linked to physical or psychological impairment, or cognitive decline (e.g., dementia).
Category I reflects a broad and nuanced understanding of inclusivity—one that goes beyond simply acknowledging the presence of non-normative bodies or vulnerable subjects. It focuses instead on how such experiences are integrated, represented, and problematized within audiovisual narratives.
Read moreThe project also aims to explore how Rai productions are portraying LGBTQ+ identities, assessing whether and how they are moving beyond persistent stereotypes—such as the queer character portrayed solely as comic relief, tragic figure, deviant, or outsider.
A more inclusive representation is defined by the diversity of experiences portrayed and the development of multifaceted characters who are not reduced to a single identity trait.
This second category encompasses all narratives that address sexual orientation and/or gender identity, either explicitly or implicitly, with a focus on groups historically underrepresented in Italian media. Included are lesbian, gay, bisexual, and asexual characters, as well as transgender, non-binary, gender fluid, or gender non-conforming individuals. Also covered are related themes such as same-sex parent families, consensual non-monogamous relationships (e.g., polyamory), and gender transition processes (whether social, medical, or legal).
The analysis goes beyond the mere presence of LGBTQ+ characters, examining how their identities are portrayed—whether they are central to the narrative or treated as marginal or stereotyped. A key aspect is the narrative role played by sexual orientation and gender identity: in some stories, these elements are deeply integrated into the character’s journey (e.g., coming out, discrimination, emotional relationships, sense of belonging), while in others, they appear in more peripheral or implicit ways.
The third category focuses on narratives that centre on migratory experiences and/or intercultural and interreligious exchange—particularly involving individuals from non-European backgrounds or those perceived as “other” within Italian society. This category includes representations of both first-generation immigrants and second-generation individuals—children of immigrants born or raised in Italy—whose cultural positioning is often liminal and ambivalent, making them especially relevant for analysis.
The category also encompasses narratives of conflict, dialogue, or integration across cultural, linguistic, and religious lines (e.g., Islam, Orthodox Christianity, African or Asian religions), as well as family traditions, gender norms, and educational models. What matters narratively is not the legal or bureaucratic definition of “foreignness,” but rather the symbolic positioning of the character as an outsider to the dominant Italian culture.
As in the other categories, a distinction is made between structural representations and those that are merely functional, decorative, or stereotypical. For example, an immigrant character limited to service roles (e.g., caregiver, street vendor) without a meaningful narrative arc does not contribute to an inclusive portrayal. Different is the case when the story engages with themes such as integration, racism, dual belonging, or offers a perspective from within the represented community.
This category also invites an intersectional reading—highlighting how migration experiences intersect with gender, age, class, or sexual orientation, thus expanding the spectrum of represented diversity. In particular, second-generation narratives are strategic for understanding evolving dynamics within Italian society—often more complex and transformative than public discourse tends to acknowledge.
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