Mafia Movies

Acknowledgments Part One. Setting the Scene 1. The Corleones at Home and Abroad Dana Renga, Ohio State University 2. Gender and Violence: Four Themes in the Everyday World of Mafia Wives Jane Schneider, Graduate Center, CUNY (Emeritus) and Peter Schneider, Fordham University(Emeritus) Part Two. American Mafia Movies and Television: The Corleones at Home and Abroad 3. Wallace McCutcheon’s The Black Hand: A Different Version of a Biograph Kidnapping Vincenzo Maggitti, University of Stockholm 4 ‘Most Thrilling Subjects’: D.W. Griffith and the Biograph Revenge Films JoAnne Ruvoli, Ball State University 5. Ethnicity and the Classical Gangster Film: Mervyn LeRoy’s Little Caesar and Howard Hawks’s Scarface Norma Bouchard, San Diego State University 6. Playing Good Italian/Bad Italian on ABC’s The Untouchables Jonathan J. Cavallero, Bates College 7 Prelude to The Godfather: Martin Ritt’s The Brotherhood Robert Casillo, University of Miami 8. Michael Corleone’s Tie: Francis Ford Coppola’s The Godfather Anthony Julian Tamburri, John D. Calandra Italian American Institute, Queens College/CUNY 9. Nihilism and Mafiosita in Martin Scorsese’s Mean Streets Pellegrino D’Acierno, Hofstra University 10. Thematic Patterns in Francis Ford Coppola’s The Godfather: Part II John Paul Russo, University of Miami 11. The Sexual Politics of Loyalty in John Huston’s Prizzi’s Honor Rebecca Bauman, Fashion Institute of Technology 12. Between Postmodern Parody and Generic Hybridization: The Gangsters of Brian De Palma’s The Untouchables Norma Bouchard, San Diego State University 13. The Bandit, the Gangster, and the American Army Shorts: Michael Cimino’s The Sicilian Chiara Mazzucchelli, The University of Central Florida 14. Martin Scorsese’s Goodfellas: Hybrid Storytelling between Realism and Formalism Fulvio Orsitto, California State University 15. Redemption in Francis Ford Coppola’s The Godfather: Part III John Paul Russo, University of Miami 16. Narrating the Mafia, Las Vegas, and Ethnicity in Martin Scorsese’s Casino Claudio Bisoni, University of Bologna 17. ‘Nothing Romantic about It’: Gender and the Legacy of Crime in Abel Ferrara’s The Funeral Lara Santoro, Drew University 18. Inside the Mafia: Mike Newell’s Donnie Brasco Robert Casillo, University of Miami 19. Family Therapy: Harold Ramis’s Analyze This and the Evolution of the Gangster Genre Louis Bayman, University of Southampton 20. Martin Scorsese’s The Departed, or the Quest for a Departed (Ethnic) Identity Margherita Heyer-Caput, University of California 21. When Words Can Kill: David Chase’s The Sopranos Franco Ricci, The University of Ottawa 22. ‘Don’t Stop Believin’, Don’t Stop …’: (De)Structuring Expectations in the Final Season of The Sopranos Giancarlo Lombardi, College of Staten Island & CUNY Graduate Center 23. ‘History Doesn’t Repeat Itself, but It Does Rhyme’: Fictionalizing History in Boardwalk Empire Paolo Russo, Oxford Brookes University 24. Mob Wives: Exploitation or Empowerment? Jacqueline Reich, Fordham University and Fatima Karin, Fordham University Part Three. Italian Mafia Movies and Television: Resistance and Myth 25. Which Law Is the Father’s? Gender and Generic Oscillation in Pietro Germi’s In the Name of the Law Danielle Hipkins, University of Exeter, University of Exeter 26. The Visible, Unexposed: Francesco Rosi’s Salvatore Giuliano Laura Wittman, Stanford University 27. Modernity, Mafia Style: Alberto Lattuada’s Mafioso Nelson Moe, Barnard College, Columbia University 28. Francesco Rosi’s Hands over the City: A Contemporary Perspective on the Camorra Anna Paparcone, Bucknell University 29. Prototypes of the Mafia: Luchino Visconti’s The Leopard Elizabeth Leake, Columbia University 30. The Failure of the Intellectual: Elio Petri’s Filming of Leonardo Sciascia’s To Each His Own Daniela Bini, University of Texas 31. Damiano Damiani’s The Day of the Owl: A Western Flirtation Piero Garofalo, University of New Hampshire 32. Smaller and Larger Families: Lina Wertmüller’s The Seduction of Mimi Thomas Harrison, University of California, Los Angeles 33. Deconstructing the Enigma: Logical Investigations in Francesco Rosi’s Lucky Luciano Gaetana Marrone, Princeton University 34. Power as Such: The Idea of the Mafia in Francesco Rosi’s Illustrious Corpses Alan O’Leary, University of Leeds 35. Marco Risi’s Forever Mary: Desperate Lives Converge in Sicilia ‘Non Bedda’ George De Stefano, Author and Critic 36. Threads of Political Violence in Italy’s Spiderweb: Giorgio Ambrosoli’s Murder in Michele Placido’s A Bourgeois Hero Carlo Testa, University of British Columbia 37. Sacrifice, Sacrament, and the Body in Ricky Tognazzi’s La scorta Myriam Swennen Ruthenberg, Florida Atlantic University 38. Pasquale Scimeca’s Placido Rizzotto: A Different View of Corleone Amy Boylan, The University of New Hampshire 39. Marco Tullio Giordana’s The Hundred Steps: The Biopic as Political Cinema George De Stefano, Author and Critic 40. Roberta Torre’s Angela: The Mafia and the ‘Woman’s Film’ Catherine O’Rawe, University of Bristol 41. Organized Crime and Unfulfilled Promises in Gabriele Salvatores’ I’m Not Scared Michael O’Riley, Colorado College 42. Growing Up Camorrista: Antonio and Andrea Frazzi’s Certi bambini Allison Cooper, Bowdoin College 43. Lipstick and Chocolate: Paolo Sorrentino’s The Consequences of Love Mary P Wood, Birkbeck, University of London 44. The In(di)visibility of the Mafia, Politics, and Ethics in Bianchi and Nerazzini’s The Mafia Is White Robin Pickering-Iazzi, The University of Wisconsin 45. Marco Turco’s Excellent Cadavers: An Italian Tragedy Maddalena Spazzini, Richmond College 46. Dispatches from Hell: Matteo Garrone’s Gomorrah Pierpaolo Antonello, The University of Cambridge 47. From Comedy to Commemoration: Pierfrancesco Diliberto’s La mafia uccide solo d’estate Millicent Marcus, Yale University 48. Fabio Grassadonia and Antonio Piazza’s Salvo: The Sound of Redemption in an Infernal Landscape Amy Boylan, The University of New Hampshire 49. Of Renegades and Game Players: Shifting Sympathies in Gomorra: la serie Giancarlo Lombardi, College of Staten Island & CUNY Graduate Center Part Four. Italy’s Other Mafias in Film and on Television: A Roundtable 50. Introduction – The Banda della Magliana, the Camorra, the ’Ndrangheta, and the Sacra Corona Unita: The Mafia On Screen beyond the Cosa Nostra Dana Renga, Ohio State University 51. Historicizing Italy’s Other Mafias: Some Considerations John Dickie, University College London 52. Romanzo criminale: Roma Caput Violandi Allison Cooper, Bowdoin College 53. Romanzo criminale: la serie Catherine O’Rawe, University of Bristol 54. Toxic Tables: The Representation of Food in Camorra Films Amy Boylan, The University of New Hampshire 55. The New Mafia in Una vita tranquilla Giovanna De Luca, College of Charleston 56. Soap Operas Giancarlo Lombardi, College of Staten Island & CUNY Graduate Center 57. Response #1 Robert Gordon, The University of Cambridge 58. Response #2 Danielle Hipkins, University of Exeter 59. Response #3 Robin Pickering-Iazzi, The University of Wisconsin 60. Conclusion Allison Cooper, Bowdoin College Part Five. Double Takes The Godfather 61. The Godfather: Performance and Stardom Dominic Holdaway, Università Cattolica del Sacro Cuor 62. The Godfather: Adaptation Alberto Zambenedetti, University of Toronto 63. The Godfather: Gender Dana Renga, Ohio State University 64. The Godfather: Scene Analysis – Don Vito’s Office Alberto Zambenedetti, University of Toronto 65. The Godfather: Scene Analysis – The Baptism/Murder Alberto Zambenedetti, University of Toronto 66. The Godfather: Scene Analysis – The Finale Daniel Paul, The Ohio State University The Sopranos 67. The Sopranos: Antiheroic Masculinity Dana Renga, Ohio State University 68. The Sopranos: Gender Dominic Holdaway, Università Cattolica del Sacro Cuor 69. The Sopranos: (Sub)Urban Space Alberto Zambenedetti, University of Toronto 70. The Sopranos: Episode 1.01, ‘The Sopranos’ Dominic Holdaway, Università Cattolica del Sacro Cuor 71 The Sopranos: Episode 1.05, ‘College’ Sean O’Sullivan, The Ohio State University 72. The Sopranos: Episode 2.04, ‘Commendatori’ Sean O’Sullivan, The Ohio State University Romanzo criminale 73. Romanzo criminale: Performance and Stardom Catherine O’Rawe, University of Bristol 74. Romanzo criminale: Adaptation/Transmedia Dominic Holdaway, Università Cattolica del Sacro Cuor 75. Romanzo criminale: Gender Danielle Hipkins, University of Exeter 76. Romanzo criminale: Politics and Terrorism Dominic Holdaway, Università Cattolica del Sacro Cuor 77. Romanzo criminale: Scene Analysis – The Aldo Moro Kidnapping Catherine O’Rawe, University of Bristol 78. Romanzo criminale: Scene Analysis – The Bologna Bombing Alan O’Leary, University of Leeds Gomorrah 79. Gomorrah: Gender Elena Past, Wayne State University 80. Gomorrah: Metacinematic References Alberto Zambenedetti, University of Toronto 81. Gomorrah: Urban Space Monica Seger, William and Mary University 82. Gomorrah: Scene Analysis – Opening Sequence Alberto Zambenedetti, University of Toronto 83. Gomorrah: Scene Analysis – The Initiation of Totò Alberto Zambenedetti, University of Toronto 84. Gomorrah: Scene Analysis – The Finale Monica Seger, William and Mary University Filmography Selected Bibliography Contributors