Achille Castaldo Filming the painting. Piero della Francesca's Madonna del Parto through the lenses of Valerio Zurlini and Andrej Tarkovskij pp. 3-20, DOI: 10.17397/84228 Details Buy Cite
Fabio Andreazza «Director in Boots». The Posture of Alessandro Blasetti pp. 21-38, DOI: 10.17397/84229 Details Buy Cite
Matteo Billeri Antonioni's (Neo-)Avant-Garde. Visual Sources for L'eclisse (1962) pp. 39-56, DOI: 10.17397/84230 Details Buy Cite
Andrea Baldi Intertextual Relationships in Renzo e Luciana: From Calvino to Monicelli pp. 57-76, DOI: 10.17397/84231 Details Buy Cite
Andrea Mariani The Politicization of Experimental film. The Role of Cinegufs and Luciano Emmer's «Dolomiti Film» in the Production of Il Covo (1941) pp. 77-102, DOI: 10.17397/84232 Details Buy Cite
Mariapia ComandFederica Villa Identifying Spaces: on the Feminine and Masculine in Popular Cinema in the Fifties and Sixties pp. 103-122, DOI: 10.17397/84233 Details Buy Cite
Giacomo Manzoli «Cured of Homosexuality». Research Assessment and Validation in Italian Film and Media Studies pp. 123-136, DOI: 10.17397/84234 Details Buy Cite
Rocco Giansante From Neo to New Realism. The Films of Nanni Moretti pp. 137-148, DOI: 10.17397/84235 Details Buy Cite
Guido Mori The cinema of pleasure: the gaze as a political factor, from Fellini to Sorrentino pp. 149-170, DOI: 10.17397/84236 Details Buy Cite
Stefania Parigi Film on paper. Un Paese by Strand and Zavattini pp. 171-195, DOI: 10.17397/84237 Details Buy Cite
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