Notes on Contributors
Adriano Aprà has published, among other things, Per non morire hollywoodiani; Stelle & strisce. Viaggi nel cinema Usa dal muto agli anni '60; and In viaggio con Rossellini. In the 1960s, he was a founder and director of Cinema & Film. In the 1970s, he codirected the cineclub Filmstudio 70 in Rome. He has collaborated on numerous festivals, directing those at Salsomaggiore (1977-1989) and Pesaro (1990-1998). From 1998 to 2002, he was director of the Cineteca Nazionale in Rome. He has made a fiction film, Olimpia agli amici, and documentaries such as Rossellini visto da Rossellini. He codirected Rosso cenere with Augusto Contento.
Louis Bayman is a lecturer in Film at the University of Southampton. He is the author of The Operatic and the Everyday in Postwar Italian Cinema; editor of Directory of World Cinema: Italy; and coeditor with Sergio Rigoletto of Italian Popular Cinema. He has written articles on Italian popular culture, melodrama, horror, and serial-killer cinema.
Giorgio Bertellini is an associate professor in Screen Studies and Romance Languages at the University of Michigan. He is the author of the award-winning Italy in Early American Cinema: Race, Landscape, and the Picturesque, as well as of Emir Kusturica (published in both Italian and English). He edited Italian Silent Cinema: A Reader and coedited with Richard Abel and Rob King Early Cinema and the 'National.' He is currently working on a project titled "The Divo and the Duce: Film Stardom and Political Leadership in 1920s America."
Peter Bondanella is Distinguished Professor Emeritus of Comparative Literature, Film Studies, and Italian at Indiana University; past president of the American Association for Italian Studies; and a member of the European Academy for Sciences and the Arts. He is the author of numerous books dealing with comparative literature, Italian literature, and Italian film, including: The Eternal City: Roman Images in the Modern World; The Cinema of Federico Fellini; The Films of Roberto Rossellini; and A History of Italian Cinema. He is editor of The Italian Cinema Book. He is also the translator and/or editor of numerous Italian literary classics, including works by Boccaccio, Cellini, Dante, Machiavelli, and Vasari.
Lorenzo Borgotallo holds a PhD from the University of North Carolina at Chapel Hill and a BA and MA from the Università degli Studi di Firenze. A former lecturer and visiting assistant professor of Italian at Clemson University, he is head of languages within the International Baccalaureate Program at the International School of Turin, Italy, and teaches in the summers at the Scuola Italiana, Middlebury at Mills, California.
Flavia Brizio-Skov is Humanities Fellow at the University of Tennessee, where she teaches Italian, modern literature, and cinema. In addition to numerous articles in international journals, she has single-authored two monographs, La scrittura e la memoria: Lalla Romano, and Antonio Tabucchi: navigazioni in un universo narrativo, and has edited Reconstructing Societies in the Aftermath of War: Memory, Identity, and Reconciliation, and Popular Italian Cinema: Culture and Politics in a Postwar Society. She is working on a manuscript that reinterprets the history of the Italian and American western genre.
Réka Buckley is an independent scholar and former senior lecturer in Film Studies at the University of Portsmouth. She has published widely on fashion and glamour, fandom, and the Italian postwar star system. She is currently researching fandom as well as costume and fashion in Italian cinema.
Frank Burke is Professor Emeritus at Queen's University, Canada. He has published on American, Italian-American, and Italian cinema. His work on Federico Fellini includes Federico Fellini: From Postwar to Postmodern and, with Marguerite Waller, Federico Fellini: Contemporary Perspectives. He provided the commentary with Peter Brunette for The Criterion Collection release of Amarcord. He is currently writing a book on the Italian sword-and-sandal film for Edinburgh University Press.
Luca Caminati is associate professor of film studies in the Mel Hoppenheim School of Cinema at Concordia University in Montreal. He is the author of Orientalismo eretico. Pier Paolo Pasolini e il cinema del Terzo Mondo; Cinema come happening. Il primitivismo pasoliniano e la scena artistica italiana degli anni Sessanta/Cinema as Happening. Pasolini's Primitivism and the Sixties Italian Art Scene; and the forthcoming Una cultura della realtà: Rossellini documentarista.
Barbara Corsi is a PhD candidate at the Università di Roma Tor Vergata and a journalist/publicist. She has taught the economics of film at the Università di Padua and at Milan's Università Cattolica del Sacro Cuore and Università di communicazione e lingue (UILM). Having worked at the Archivio del Cinema Italiano dell'Anica, she has written essays, biographical entries on producers, and two monographs: Con qualche dollaro in meno and Produzione e produttori.
Emanuele D'Onofrio completed his PhD in film music at the University of Manchester. His main interests are the use of popular music and the presence of discourse and ideology in films and in other forms of communication, particularly in the process of reconstructing social and political memories. He has authored Film music, nazione e identità narrativa. Il cinema italiano contemporaneo rivisita gli anni Settanta and has worked as a producer and as a writer for top-level Italian media companies. He teaches courses in media and communication, cinema, and popular culture at The John Cabot University and at the American University, both in Rome.
Derek Duncan is a professor of Italian at the University of St Andrews. He has published extensively on issues of sexuality and gender in Italian culture and on questions of postcoloniality. He is the author of Reading and Writing Italian Homosexuality and coeditor with Jacqueline Andall of Italian Colonialism: Legacy and Memory and National Belongings: Hybridity in Italian Colonial and Postcolonial Cultures. He is the founding editor of the cultural studies issues of the long-established journal Italian Studies. He is currently working on Italian cinema of migration.
Tiziana Ferrero-Regis is a senior lecturer in fashion theory at the Queensland University of Technology, Brisbane. She has published numerous essays on Italian cinema and on fashion and has authored the monograph Recent Italian Cinema: Spaces, Contexts, Experiences. Her research includes the global division of labor in the creative industries, and film and fashion synergies.
Austin Fisher is a senior lecturer in media arts at the University of Bedfordshire and author of Radical Frontiers in the Spaghetti Western. He serves on the editorial board of the Transnational Cinemas journal, is cochair of the Society for Cinema and Media Studies Transnational Cinemas' Scholarly Interest Group, and founder of the Spaghetti Cinema festival.
Emilia Griffin received her degree in European Studies at King's College London before working in international development with PEN International and Transparency International in London and Berlin. In addition to film studies, her translations include art catalogues for NERO magazine, and academic articles. She is bilingual in Italian and English. Currently, she is completing a master's in International Development Studies at the University of Amsterdam.
Stephen Gundle is a professor of Film and Television Studies at the University of Warwick. He is the author of several books and articles about modern and contemporary Italy. His most recent volumes are Death and the Dolce Vita: The Dark Side of Rome in the 1950s and Mussolini's Dream Factory: Film Stardom in Fascist Italy. Among his other books are Mass Culture and Italian Society from Fascism to the Cold War, with David Forgacs; Bellissima: Feminine Beauty and the Idea of Italy; and Glamour: A History.
Marcia Landy is Distinguished Professor in English/Film Studies. Her books include Fascism in Film; Film, Politics, and Gramsci; Cinematic Uses of the Past; The Folklore of Consensus: Theatricality in Italian Cinema; Italian Film; Stardom Italian Style; and Cinema and Counter-History.
Flavia Laviosa is a senior lecturer in the Department of Italian Studies and in the Cinema and Media Studies Program at Wellesley College. Her research interests are in Italian cinema, European women filmmakers, and Mediterranean studies. She has published numerous essays in these areas. She is the editor of the volume Visions of Struggle in Women's Filmmaking in the Mediterranean. She is also the founder and principal editor of the Journal of Italian Cinema and Media Studies. She is currently working on a book-length manuscript "Framed Lives and Screened Deaths: Honor Killings in World Cinema."
Sandra Lischi is a professor of cinema, television and photography at the Università di Pisa, specializing in video art and nonfiction film. She directs, along with Romano Fattorossi, the INVIDEO Festival, Milan....