Table of Contents:
“…Roberto Rossellini's Paisan : national identity by means of montage -- Luchino Visconti's Bellissima : the diva, the mirror, and the screen -- Bernardo Bertolucci's Last emperor : powerless in Peking -- Gabriele Salvatores's Mediterraneo : where nationalism surrenders to utopian myth -- Roberto Faenza's Sostiene Pereira : from Salazar's Lisbon to Mussolini's Rome by way of France -- Francesco Rosi's Three brothers : the family of Italy in transition -- Ricky Tognazzi's La scorta : guarding the alternative body of power -- Gianni Amelio's stolen children : the gaze of innocence, lost and found -- Federico Fellini's Ginger and Fred : postmodern simulation meets Hollywood romance -- Giuseppe Tornatores' Cinema paradiso : filmic fascination and the art of nostalgia -- Maurizio Nichetti's Icicle thief : travels in hyporeality -- Roberta Torre's Tano da morire : postmodern pastiche, the sceneggiata, and the view -- Of the mafia from below -- Francesco Rosi's The truce : filming the text of witness -- Roberto Benigni's Life is beautiful : the serious humor of a controversial comedy manqué -- Nanni Moretti's Caro diario : reclaiming the body on screen.…”