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1. 1
Stage Two Application for Research Ethics Approval
Faculty of Arts
This form needs to be completed in cases where answers to the stage one form were marked ‘yes’, where applicants consider
that there are potential ethical issues relating to their research, or where ethical approval is required by third parties (such as
grant giving agencies).
It should be sent to the Faculty Ethics Officer (Mark.Horton@bristol.ac.uk) as early as possible in the research planning
process, and certainly before fieldwork commences. In some cases, ethical approval may require two stages – when grant
applications are submitted and for more detailed consideration once funding or other permissions have been approved.
Key project details:
1. Applicant’s Name, Department Enrico Biasin – Department of Italian
2. Short Project Title Young-Italian 2015
3. Is the approval you are seeking for: Tick one only
Proposal/Outline bid
Active project with external funding (e.g AHRC, ESRC) X
Staff research activity funded through QR
Postgraduate Research
4. When is ethical approval required by? (please write in date) March 2017
5. (Postgraduate students only) Who is supervising your research?
Named supervisors will be sent a copy of any comments/recommendations
6. Funding Agency if relevant Marie Skłodowska-Curie Actions –
Individual Fellowship
Ethical procedures
7. Does your project require referral to/approval by another
ethics committee (e.g. overseas research)?
If yes, which committee?
Yes
No X
8. a) If your project requires external ethical approval, has it been reviewed already?
b) What was the outcome?
9. Which of the following best describes the structure of this research project: Tick one:
University of Bristol researchers only X
University of Bristol principal investigator/one or more researcher from other institutions
Principal investigator from other institution/University of Bristol researchers contributing
10. If the PI is from another institution, can you confirm that the project will be approved by an ethics committee run by the PI’s
institution that operates an equivalent standard of ethical scrutiny to UoB?
Yes Please supply copy of approval for our records
No Please submit full details for ethical review

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Details of Project
Please answer as many of these questions as you consider relevant. While ethical issues may be relevant for particular parts of
the research, it is useful for the committee to have a full understanding of the project in order to make an informed view.
1. FULL PROJECT TITLE.
Dangerous Masculinities: Young Men in Italian Cinema of the 1940s-1960s.
2. EXPECTED DURATION AND LOCATION OF FIELDWORK.
The project aims to study the construction of gender identity amongst the Italian male cinema-goers of the 1940s-
1960s – people now aged between 70-80 years – through the investigation of their consumption practices. The work
package provided for by the Marie Curie postdoctoral project (WP4) aims to create the best conditions to develop the
ethnographic survey planned. As indicated more specifically in the next paragraph, the survey will be conducted in
two specific forms – by a two-hour personal interview and the use of a questionnaire.
All the potential informants will be recruited, through intermediaries, in the North and South of Italy, in order to
establish a first contact with them and check their availability. At a later stage, they will be interviewed by means of
specific tools. The work package provided for by the project’s objectives are the following: to meet or contact the ori-
ginal cinema-goers of the time with the cooperation of the cinema d’essai circuit and other institutions (Associazione
Nazionale Partigiani d’Italia [National Partisans’Association]; Università della Terza Età [University of the Third
Age]; Italian cultural associations); to prepare a range of materials to communicate with this historical audience via in-
terviews, questionnaires and letters (as a complementary option, it could be useful to video these testimonial ac-
counts); to analyse the results according to their capacity to depict personal ‘life-histories’ in relation to representa-
tions of male identity.
The two-hour personal interview carried out by me will take place in the participants’ residences. In the case of the
use of questionnaires, the researcher will agree with the participants on the time necessary in order to complete them.
However, it is expected that the ethnographic survey planned will be conducted between April 2017 and May 2018.
3. DESIGN OF THE STUDY.
The present project is part of my general interest about Italian men and their forms of representation in cinema, as part
of my Marie Curie postdoctoral fellowship. This study aims to examine Italian cinema during the twenty-year period
from 1943 to 1963 in relation to the construction of the image of the young Italian man. The main goal is to
understand how Italian cinema from the post-war period to the ‘economic boom’ gave substance to male national
identities so as to situate them within an emerging youth culture produced by the new consumer society in Italy.
The project is organised into three parts. The first section is about the films and the cinematic representations of the
young men within them. The second one concerns the male actors and celebrities within the cultural industry of the
time, with specific interest to the proliferation of press materials about cinema (fan magazines, reviews, novelizations,
biographies etc.). The final part of the project focuses on the cinema audiences and on their experiences with the film
texts in relation to gender identity. It therefore involves a survey of spectators of the time. This latter is the section of
the study where the actual presence of the ‘original’ spectators of the twenty-year period indicated above is requested.
Thus, a significant part of this study deals with the Italian male spectators of Italian cinema in the 1940s-1960s,
and it is for this reason that my project needs the actual presence of several male cinema-goers of that epoch. Ideed,
their recollections and narratives represent an important source of memory about cinematic experiences and their role
in the creation of personal identities and forms of consumption related to entertainment.
The ethnographic survey will be conducted in two specific forms. The first one consists of a two-hour personal
interview carried out by me with every single participant. This interview will be structured according to three main
sections: what were the personal participant’s choices about cinema-going during the 1940s, 1950s and 1960s; what
were his specific relations with male film stars and actors of the time, and what did these relationships entail in terms
of his identification with the fictional roles performed by them; details about the participant in the 1940s-1960s, and
details about the participant now. In the course of the interview the participant’s voice will be recorded, and there
would be the possibility that the event will be filmed.
The second form of the ethnographic survey concerns the use of a questionnaire. The content of the questionnaire
follows the same tripartite structure outlined above for the personal interview. In both cases I will ask the participant to
sign a specific written consent form in order to allow me to mention his identity (name and surname) and use the
material derived from the ethnographic survey for research purposes. Alternatively, if the participant prefers, he will
be identified only by his first name. The participant will be contacted by me via institutional e-mail or his personal
postal address so as to receive additional information and details about the ethnographic survey procedure.
The data obtained via the ethnographic survey procedure will be stored in encrypted storage media or hard drives
for storing any kind sensitive data (cf. paragraph 11). They will be essential to the research insofar as they will be
compared and cross-checked with other ones, originated from archive investigations and textual film analysis. As
indicated in the paragraph 6, the ethnographic survey will be conducted only by me; Dr. Carherine O’Rawe, Reader in
Modern Italian Culture (Department of Italian, University of Bristol), will supervise the entire procedure.

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4. IDENTITY OF FIELD RESEARCHERS.
The survey will be directly conducted by me – Marie Curie Research Fellow at the Department of Italian (University of
Bristol). Dr. Carherine O’Rawe, Reader in Modern Italian Culture at the same Department, will supervise the entire
process.
5. PURPOSE OF STUDY.
This project seeks to expand the perspectives, methodologies and approaches for the examination of a historical phase
of Italian masculinity within the cinematic apparatus. Hence, it offers an innovative point of view on two key axes of
analysis: 1) In compliance with the increasing need to develop more detailed studies about cinematic spectatorship, it
develops an ethnographic research plan that will permit a quantitative and qualitative survey of all the regions of Italy.
2) It promotes a systematic study of Italian masculinity concerned with a central development of the cinematic form in
the course of the modernisation of the nation, enriching a field of analysis that is not particularly advanced in Italy.
Therefore, the whole project and specifically the ethnographic survey will be a great contribution to knowledge
concerning Italian cinematic spectatorship of the 1940s-1960s. It is worth noting that the results of the survey will be
published not only within the academic and specialist contexts (books, journals and conferences), but also within
popular communication channels (digital social networks, local and national press, specific cultural publications) in
order to allow wider community of people to be acquainted with them.
6. SOURCES OF FUNDING.
The present research project will be organised and managed by me as a Marie Curie Research Fellow working at the
Department of Italian of the University of Bristol. Dr. Catherine O’Rawe, Reader in Modern Italian Culture at the
same Department, will supervise the entire process so as to guarantee its correct development. Part of my two-year
fellowship will finance the study.
7. RESEARCH PERMISSION.
The research will not need any permission to undertake it, except the participant individual’s consent to take part within
it.
8. POTENTIAL RISKS AND HAZARDS.
There are no major risks or disadvantages of taking part in this project, both for the participants and the researcher. All
its potential participants will be absolutely free to decide whether to be involved in the ethnographic survey. It is up to
them to consider whether they wish to participate in the project.
The face-to-face interviews will be conducted by the researcher within places chosen by the same participants. In
the event that participants explicitly disagree that your identity can be mentioned in publications arising from the
research, the researcher will guarantee confidentiality. If they are taking part in the face-to-face interview, and if they
wish, the researcher will send them the transcript of the interview before the analysis to allow them to ensure that they
have not been misrepresented.
All the informations about their identities and any data produced during the ethnographic survey (research notes,
letters, questionnaires completed, audio and video recordings) will be protected by specific measures. Data will be
stored in encrypted storage media or hard drives for storing any sensitive data.
9. RECRUITMENT PROCEDURES.
All the potential informants will be recruited through a national advertising campaign using different communication
channels – local and national press, cinema bulletins, cultural associations, and other educational institutions. Additio-
nally, as indicated in the paragraph 2, in order to reach this purpose, the cooperation of the cinema d’essai circuit and
other institutions (Associazione Nazionale Partigiani d’Italia; Università della Terza Età; Italian cultural associations)
will be very useful. All the potential participants will be free to decide to contact me and take part in the ethnographic
survey. They will be also free to withdraw at any time, without giving a reason. It is expected that the potential infor-
mants will be not ‘vulnerable’ in anyway. I will identify myself as researcher able to conduct the survey by using my
passport and the UoB id. card. The interviews will take place in a private place or within institutional settings.
10. INFORMED CONSENT.
During my research, I am going to use a consent form that can be easily understood by the participants. The form includes
the following information: a brief outline of the project; the fact that the participation within it is voluntary and that
participants can withdraw at any time without giving a reason; what participants have to do in the project; how the
findings will be used; the fact that participants’ identies will be kept confidential; the possible disadvantages and risks
of taking part in the project; and what will happen to the data collected.

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11. DATA PROTECTION.
As already mentioned previously (paragraph 8), all the informations about participants’ identities and any data produced
during the ethnographic survey (research notes, letters, questionnaires completed, audio and video recordings) will be
protected by specific measures. Data will be stored in encrypted storage media or hard drives for storing any sensitive
data. They will be archived according to a chronological criterion and will be used only by the researcher in order to
carry on and improve his research project. Individual participant research data, such as questionnaires, interviews,
drafts, letters, will be anonymous and given a research code, known only by the researcher. The material will be stored
in encrypted storage media or hard drives for storing any sensitive data. Data will not be used by the researcher for
different purposes other than those for which he has permission, and they will be used to implement the present study.
Once the researcher publishes his research results, it is his intention to retain them securely for future projects related
to the same field of research.
12. HUMAN TISSUE AND REMAINS.
The research will not need to recover human tissue or human remains.
13. CULTURALLY SENSITIVE MATERIAL.
The research will not involve any collection of culturally sensitive materials, including ancient and ethnographic artefacts.
14. WORKING WITH ANIMALS.
The research will not involve working with animals.
15. DISSEMINATION OF FINDINGS.
The outcomes of the research project will be communicated by means of a number of dissemination initiatives directed
both at general audiences and academic scholars. Public engagement activities will be conducted in accordance with
the University of Bristol. The strategy proposed here includes several ways to create ‘popular’ awareness principally
about the main topics of the project. Engagement activities throughout my fellowship will be supported by the
University’s Centre for Public Engagement (CPE), whose role is to promote public engagement with research and
teaching across the University. The public engagement activities (talks, interviews, lectures) will be conducted within
open settings or institutional contexts in order to reach a general audience on the topics of gender, masculine identity,
male stardom within the 1940s-1960s cinematic Italian culture.
In terms of academic dissemination, the fellowship will be able to make public my research outcomes within the
academic community through presentations at national and international academic meetings, research papers to be
published within different journals (Italian Studies, Journal of Modern Italian Studies, The Italianist, Modern Italy,
L’avventura: International Journal of Italian Film and Media Landscapes, Journal of Italian Cinema & Media
Studies, California Italian Studies Journal, Men and Masculinities, Screen), and workshops and seminars.
REVIEWING YOUR PROPOSAL: The Ethics Committee will review your proposal on the basis of the information
provided on this document and any attachments. If you want to attend the meeting, then please contact Mark Horton.
Should the committee have any questions after reviewing your application they will contact you directly. If the committee
makes any recommendations, you should confirm, in writing, that you will adhere to these recommendations before
receiving approval for your project.
PLEASE ATTACH COPIES OF ANY DOCUMENTATION RELATING TO DATA COLLECTION THAT YOU
ARE PROPOSING TO USE TO YOUR ONLINE ETHICS TOOL SUBMISSION.