The articles in this issue originated as papers at the conference ‘Italy in the Digital Era: Mapping the New Media System’, which we organized on behalf of the UCL Centre for Italian Studies at the Institute of Romance Studies (IRS), University of London, on 13–14 October 2000. We are grateful to our sponsors, Fiat, to Nicolette David and Sarah Wykes at the IRS for their organizational support, to the editorial board of Modern Italy for agreeing to our proposal to publish these articles as a special issue and to our referees for their comments and suggestions.

The new media system that has emerged worldwide since the early 1990s is characterized by increasing use of digital technologies in every area and convergence between once distinct media. In Italy there have been a number of national variations on this global pattern: relative weakness of state regulation, a move away from the dominance of the system by ‘generalist’ television, a high rate of cellular phone use and a slower than average growth of Internet use. As far as consumption is concerned, the most common categories used to describe the emergent system—personalization of media, increased individual choice and mobility—do manage to capture some important aspects, in Italy as elsewhere, but they obscure others, notably the structural constraints limiting individual choice, the formation of new media microcommunities and, conversely, the exclusion of particular groups of citizens from full participation in the new system.

The spread of mobile telephones in Italy is examined as a typical technological phenomenon and is contextualized in the theoretical literature on technological change. A brief introduction is followed by a historical account of the growth of mobile telephony and then by an examination of its current spread and likely future development. After this, two interpretative models are put forward which, it is suggested, may be used both in this particular case and for any form of technologically mediated communication (TMC): the butterfly paradigm (applied to the spread of a technology), and the circuit synergy paradigm (applied to the relative importance of individual factors in the process of diffusion).

The article outlines the current structure and organization of public service broadcasting in Italy and explores various options for its future development. With moves towards digital broadcasting, RAI is set to enter a discrete next stage which will bring new challenges and will inevitably lead to a revision of its public service remit. While it is currently unclear how far Italian public service broadcasting will change, there is evidence that members of the government and senior RAI managers wish partially to privatize core elements of its public service. Focusing on the development of television, the article addresses some of the salient issues facing RAI and other public service broadcasters who have become the victims of a pervasive disenchantment with public provision of goods and services.

This article describes the main results of separate online surveys on two partly differentiated Italian Internet audiences. It argues that the two show more traits in common than dissimilarities and that their common characteristics are widely shared by the millions of Italian Internet users. On a comparison of the sample to the country as a whole, it emerges as better educated, more open-minded, more affluent, and young to middle-aged. These Internet audiences do not trust television, they rely on the Internet to provide them with news, entertainment, goods and services, and they are quite similar to other Internet users elsewhere in western Europe.

The article analyses social discourses about the Internet in Italy from the mid-1990s onwards, taking its examples from advertising. Beyond the individual campaigns and their subjects there have been two distinct trends in Internet advertising. The first has made an effort to build the Internet as a cognitive object, the second has presented the Internet as a ‘possible world'. The article aims to account for the ways in which the Web has been thematized in Italy: its fields of reference, and how its possible social and personal uses have been anticipated.

In Italy, as in much of Europe, the beginning of the new century has brought a crucial period of change to the television system. The change affects technology, strategies and regulation of the medium. This article starts by reconstructing the current situation and the emerging trends at a global level. It then analyses the state of the Italian television industry on the eve of the introduction of digital terrestrial broadcasting, setting out the opportunities and potential developments this opens up.

The Italian imaginary has been populated in recent years by a swarm of objects with high technological content, from mobile phones to palmtop organizers, from satellite dishes to sophisticated digital audio and video equipment. The computer, by contrast, has remained in the shadows. Although it has been central to the discourse of specialists, it has entered everyday life only very gradually over the last two years. This paradox accounts for the fact that online journalism still lags substantially behind in Italy, despite the fact that the first Internet newspapers appeared several years ago. The first part of this article is descriptive: it analyses the Italian situation in the light of the massive investments made in the online sector. The second part reviews the peculiarities of Italian online journalism, both more innovative than its paper counterpart and at the same time potentially more constrained by advertising. The article concludes with an analysis of the most recent tendencies in the Italian information system. From integration to convergence, technologies and the products of the communications system are producing a new context of use for consumers and may be introducing new social scenarios.

Italian cinema is lagging behind in international standards, both culturally and in production terms. Starting in the mid-1970s, the Italian communication system has begun an irreversible transformation, and yet the ideologies of Italian cinema have remained impervious to the changes and they have consequently severed Italian cinema's links with the dynamic processes taking place in the other western film industries. The result is that today's Italian cinema fails to achieve either a decent production standard or essential synergies with other sectors of the cultural industry. A new political culture of communication is the only possible strategy for making Italian cinema once again a player in the global multimedia system.

In a recent issue of Modern Italy, Sarah Morgan has offered an analysis of the Schio killings (eccidio di Schio) of July 1945 by means of a ‘constructivist’ approach.1 She compares the narratives of events provided by the Communist party (PCI), the Allied Military Government (AMG), and partisans and partisan organizations, and shows how each narrative was related to different political interests and preoccupations. Thus, the PCI, which was primarily concerned with defending the image of the ‘Resistance’ on which its political legitimacy rested, maintained that those responsible for the killings of over. fty ‘Fascists’ held in the Schio prison were not real partisans but ‘agents provocateurs’. The AMG presented the killings as a brutal example of breakdown of law and order thus casting doubt on the viability of the model of grass-root governance provided by the Committees of National Liberation (CLN). Conservative political forces pushed the AMG narrative even further and chose to regard the Schio massacre as the beginning of a cycle of violence instigated by the Communist Left. Finally, partisans and partisan organizations argued that the killings were an act of popular justice within the context of a general sense of frustration for the lack of epurazione (purging of the Fascists) and the emotions generated by the news that all but one of the Schio anti-Fascists sent to the Mathausen concentration camp had died there.