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. Since 1985, she has been curating Ondavideo at Pisa, devoted to video art. She has written widely about art and new technology, experimental film, and video and nonfiction production. Among her books are Metamorfosi della visione. Saggi di pensiero elettronico (with Rosanna Albertini); Il respiro del tempo. Cinema e video di Robert Cahen; Cine ma video; Visioni elettroniche; Un video al castello; Il linguaggio del video; Gianni Toti o della poetronica (with Silvia Moretti); and Michele Sambin. Performance tra musica, pittura, video (with Lisa Parolo).
Bernadette Luciano is an associate professor of Italian at the University of Auckland. She specializes in Italian cinema and cultural studies. She has published articles and book chapters on Italian cinema, film adaptation, Italian women’s historical novels, women’s autobiographical writing, and literary translation. She is the author of The Cinema of Silvio Soldini: Dream, Image, Voyage. With Susanna Scarparo she has edited Reframing Italy: New Trends in Italian Women’s Filmmaking.
Millicent Marcus is a professor of Italian and Film Studies at Yale University. Her specializations include medieval literature, Italian cinema, interrelationships between literature and film, and representations of the Holocaust in postwar Italian culture. She is the author of An Allegory of Form: Literary Self‐Consciousness in the ‘Decameron’; Italian Film in the Light of Neorealism; Filmmaking by the Book: Italian Cinema and Literary Adaptation; After Fellini: National Cinema in the Postmodern Age; and Italian Film in the Shadow of Auschwitz. She has also published numerous articles on Italian literature and on film, and is currently studying contemporary Italian cinema within the theoretical framework of “post‐realism.”
Áine O’Healy is a professor of modern languages and literatures and director of the Humanities Program at Loyola Marymount University. Her research interests lie in transnational cinema, contemporary Italian film, and migration studies. She has published widely in Italian cultural studies, and is currently completing a book on filmmaking in Italy since the 1980s. With Katarzyna Marciniak and Anikó Imre she coedited Transnational Feminism in Film and Media, and, with Marciniak and Imre, she edits the Global Cinema book series for Palgrave Macmillan.
Alan O’Leary is Director of Research and Innovation in the School of Languages, Cultures and Societies, University of Leeds. In addition to numerous articles on Italian cinema, he has authored Tragedia all'italiana: Cinema e terrorismo tra Moro e memoria (translated into English as Tragedia all'italiana: Italian Cinema and Italian Terrorisms, 1970–2010), and Fenomenologia del cinepanettone. He is coediter with Pierpaolo Antonello of Imagining Terrorism: The Rhetoric and Representation of Political Violence in Italy, 1969–2006, and Terrorism, Italian Style: Representations of Political Violence in Contemporary Italian Cinema, with Ruth Glynn and Giancarlo Lombardi. He cofounded the annual film issue of The Italianist with Millicent Marcus. His ongoing project is titled “Italian Cinemas/Italian Histories” (http://arts.leeds.ac.uk/italian‐cinemas‐italian‐histories/about/), and he is currently working on a monograph on film and history in Italy and another on the 1966 film La Battaglia di Algeri (The Battle of Algiers, Gillo Pontecorvo).
Fulvio Orsitto is an associate professor and director of the Italian and Italian–American Program at California State University, Chico. He has published numerous essays and book chapters on Italian and Italian–American cinema. His recent book publications include the edited volumes L’Altro e l’Altrove nella cultura italiana; Cinema e Risorgimento: Visioni e Re‐visioni; Contaminazioni culturali: musica, teatro, cinema e letteratura nell’Italia contemporanea (with Simona Wright); and Pier Paolo Pasolini. Prospettive americane (with Federico Pacchioni).
Stefania Parigi teaches at the Università di Roma Tre. Her work is dedicated principally to Italian cinema. She has written and edited books on Rossellini, Zavattini, Pasolini, Ferreri, Maselli, and Benigni. Her recent publications include Paisà. Analisi del film; Pier Paolo Pasolini. Accatone; Cinema‐Italy; and Neorealismo. Il nuovo cinema del dopoguerra.
Veronica Pravadelli is a professor of film studies at the Università di Roma Tre, where she directs the Center for American Studies (CRISA). She is a former visiting professor at Brown University and has written and edited many books and articles on Visconti and Italian postneorealist cinema, feminist film theory, women’s cinema, and Hollywood cinema. Her most recent books are Le donne del cinema: dive, registe, spettatrici; Cinema e piacere visivo, a collection of essays by Laura Mulvey; and Classic Hollywood: Lifestyles and Film Styles of American Cinema, 1930–1960.
Laura Rascaroli is a professor and co‐head of Film and Screen Media at University College Cork, Ireland. Her interests span art film, modernism and postmodernism, geopolitics, nonfiction, the essay film, and first‐person cinema, often in relation to issues of social, political, intellectual, and artistic European history. She is the author and editor of several volumes, including Crossing New Europe: Postmodern Travel and the European Road Movie; The Personal Camera: Subjective Cinema and the Essay Film, cowritten with Ewa Mazierska; and Antonioni: Centenary Essays, coedited with John David Rhodes. She is general editor of Alphaville: Journal of Film and Screen Media.
Jacqueline Reich is a professor and chair of the Department of Communication and Media Studies at Fordham University. She is the author of Beyond the Latin Lover: Marcello Mastroianni, Masculinity, and Italian Cinema and The Maciste Films of Italian Silent Cinema. She is coauthor with Catherine O’Rawe of Divi italiani and coeditor with Piero Garafolo of Re‐viewing Fascism: Italian Cinema, 1922–1943. She curates the book series New Directions in National Cinemas for Indiana University Press. In the fall of 2011, she was awarded a mid‐career fellowship from the Howard Foundation at Brown University.
Angelo Restivo is an associate professor in the Program in Moving Image Studies at Georgia State University. He is the author of The Cinema of Economic Miracles: Visuality and Modernization in the Italian Art Film as well as of essays on global art cinemas and on Antonioni.
John David Rhodes teaches film in the Faculty of Modern and Medieval Languages at the University of Cambridge, where he is a fellow of Corpus Christi College. He is the author and editor of several books, including Stupendous, Miserable City: Pasolini’s Rome; Taking Place: Location and the Moving Image, coedited with Elena Gorfinkel; and Antonioni: Centenary Essays, coedited with Laura Rascaroli. He is a founding editor of the journal World Picture.
Massimo Riva is Royce Family Professor of Teaching Excellence and professor of Italian Studies at Brown University, where he is also a member of the Modern Culture and Media Department and directs the Virtual Humanities Lab. Among his recent books are Il futuro della letteratura and Pinocchio digitale. He teaches course on Italian film and visual culture. He is currently at work on an archaeological study of virtual reality titled “Italian Shadows: Casanova's Polemoscope and Other Tales of Imaginary or Forgotten Media,” selected for the Andrew W. Mellon digital publishing initiative at Brown (https://blogs.brown.edu/libnews/digital‐publishing‐pilot).
Laura E. Ruberto is a humanities professor and co‐chair of the Department of Arts and Cultural Studies at Berkeley City College. She has authored Gramsci, Migration, and the Representation of Women’s Work in Italy and the U.S.; coedited, with Kristi M. Wilson, Italian Neorealism and Global Cinema; and translated Leonilde Frieri Ruberto’s Ma la vita e’ fatta così (Such is Life: A Memoir). She coedits, with Nancy C. Carnavale, the book series Critical Studies in Italian America (Fordham University Press) and is the film and digital media review editor for the Italian American Review.
Mauro Sassi holds a PhD in Italian Studies from McGill University. He has taught television scriptwriting at the University of Turin, and Italian language and Italian cinema at McGill University. He is the author of several articles on Italian television, film theory, and contemporary Italian documentary.
Susanna Scarparo, an associate professor at Monash University, Australia, works on Italian cinema and on literary and cultural studies. She has published numerous articles and book chapters on Italian women’s historical writing, women’s life writing, Italian feminist theory, Italian–Australian literature, and Italian cinema. She is the author of Elusive Subjects: Biography as Gendered Metafiction and has coedited Violent Depictions: Representing Violence across Cultures with Sarah McDonald; Across Genres, Generations and Borders: Italian Women Writing Lives with Rita Wilson; and Reframing Italy: New Trends in Italian Women’s Filmmaking with Bernadette Luciano.
Antonella Sisto teaches Italian and cinema at the University of Massachusetts, Amherst. She is author of Film Sound in Italy: Listening to the Screen. She contributed to a recent collection on Italian cultural studies with an essay on dubbing and collaborated on the making of a documentary film on Hollywood film music composer Mario Castelnuovo‐Tedesco. Her current projects include a look at the work of film commissions in Italy and Europe, and a study of the trope of reality from neorealism to reality TV.
Christian Uva is a researcher at the Università di Roma Tre, where he teaches institutions of cinema history and criticism, and theory and practice of digital cinema. He is part of the editorial board for the annual film issue of The Italianist and the editor of the cinema book series for the publisher Rubbettino. He has written numerous essays on Italian cinema in relation to history and politics, and on new developments in film initiated by digital technologies. Among his publications: Schermi di piombo. Il terrorismo nel cinema italiano; Impronte digitali. Il cinema e le sue immagini tra regime fotografico e tecnologia numerica; Ultracorpi. L’attore cinematografico nell’epoca della digital performance; and Strane storie. Il cinema e i misteri d’Italia.
Marco Vanelli teaches humanities, media, and language in the Scuola Media Lorenzo Nottolini in Lammari (Tuscany), and the language of mass media at the Istituto Superiore di Scienze Religiose in Pisa. He is the editor‐in‐chief of the journal Cabiria—Studi di Cinema, and has researched for years on the relationship between the Church and cinema and on Christian themes present in the works of the major Italian auteurs, publishing numerous interventions on these matters.
Pasquale Verdicchio is a professor of Italian and Comparative Literature at the University of California, San Diego. He teaches literature, film, cultural studies, and environmental literature. As a translator, he has published the works of Pasolini, Merini, Caproni, Porta, and Zanzotto, among others. His poetry, criticism, and translations have been published by Guernica Editions and other publishers in the United States and Canada. His most recent publication is Looters, Photographers, and Thieves. In 2015, he was awarded the Muir Environmental Fellowship by Muir College, University of California, San Diego.
Christopher Wagstaff retired from his associate professorship in Italian Studies at the University of Reading in September 2014, where he specialized in avant‐garde visual poetry and Italian cinema. He is the author of Italian Neorealist Cinema: An Aesthetic Approach; Il conformista; and numerous essays on Italian cinema and the Italian film industry.
Marguerite Waller is professor in Comparative Literature and Gender and Sexuality Studies at the University of California, Riverside. Her research interests include film and visual culture, transnational feminisms, feminist epistemologies, sustainability, and decolonial aesthetics. She is the author of Petrarch’s Poetics and Literary History; coeditor with Frank Burke of Federico Fellini: Contemporary Perspectives; and coeditor with Sandra Ponzanesi of Postcolonial Cinema Studies. She has also coedited Frontline Feminisms: Women, War, and Resistance with Jennifer Rycenge; Dialogue and Difference: Feminisms Challenge Globalization with Sylvia Marcos; and The Wages of Empire: Neoliberal Policies, Resistance, and Women’s Poverty with Amalia L. Cabezas and Ellen Reese.
Kristi M. Wilson teaches rhetoric, writing studies, and humanities at Soka University of America. She has coedited several anthologies, including Italian Neorealism and Global Cinema with Laura E. Ruberto; Film and Genoocide with Tomas Crowder‐Taraborrelli; and Political Documentary in Latin America with Antonio Traverso. She is a film review editor and editorial collective member of the journal Latin American Perspectives.
Mary P. Wood is Emerita Professor of European Cinema and Fellow of Birkbeck College, University of London where she taught film for many years. She is currently in receipt of a Leverhulme Emeritus Fellowship to complete a study of Italian film noir. Her research has mainly been on Italian political cinema and the Italian and European film industries. Her publications include Italian Cinema (2005), Contemporary European Cinema (2007), and numerous articles on aspects of Italian cinema, most recently on Mario Bava, Franco Zeffirelli, contemporary Italian political cinema, and the child in Italian cinema. She contributed to the DVD extras for the 2012 re‐release of Ruggero Deodato’s cult classic, Cannibal Holocaust, and presented Sergio Martino and Enzo G. Castellari at the 2012 CineExcess festival.