Barbara Corsi Politicians Who Like Women, and Right-wing Ideology: How Giacinto Puppis Helped Create a New Type of Politician pp. 3-18, DOI: 10.17397/93877 Details € 8,00 Cite
Faye McIntyre The Romantic Risks of the Ruse: Federico Fellini's Il bidone (1955) pp. 19-34, DOI: 10.17397/93878 Details € 8,00 Cite
Massimiliano Gaudiosi Cantate con noi: canzoni, pubblico e censura nel filone napoletano pp. 35-48, DOI: 10.17397/93879 Details € 8,00 Cite
Denis Lotti Silent Memories. Egodocuments as Sources for Early Italian Cinema History pp. 49-64, DOI: 10.17397/93880 Details € 8,00 Cite
Deborah Toschi Femininity and Macabre Trucage in Italian Gothic Horror, between Anatomical Waxes and Memento Mori pp. 65-78, DOI: 10.17397/93881 Details € 8,00 Cite
Lauren De Camilla Contemporary Italian Horror Cinema: Female Directors and Framing the Maternal pp. 79-92, DOI: 10.17397/93882 Details € 8,00 Cite
Luciano Nigro Red Harvest: The Movie of a Lifetime that Bernardo Bertolucci Never Made pp. 93-106, DOI: 10.17397/93883 Details € 8,00 Cite
Luciano Nigro «Volevo un film politico negli Usa». Conversazione con Bernardo Bertolucci pp. 107-114, DOI: 10.17397/93884 Details € 8,00 Cite
Antonella De BlasioMarco Teti Naples «It's Me and You». The Construction and Distribution of the Liberato Music Brand through the Videoclips of Francesco Lettieri pp. 115-130, DOI: 10.17397/93885 Details € 8,00 Cite
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