Jonathan Mullins (Ohio State University)
mull@****.com (Log-in to reveal)

Irene Hatzopoulos (University of California - Riverside)
iren@****.com (Log-in to reveal)

Moviegoers in Italy have long gone to the cinema to make sense of their own society, and audiences abroad, be they middlebrow publics or activists, have long regarded Italian cinema engagé as an exemplar of leftist aesthetic praxis. While we welcome papers with a diverse range of topics and approaches to Italian cinema, we invite presentations that shed light on the histories (and futures) of Italian filmic production through this year’s PAMLA theme, "Our Ruling Classes," be they about representations of the aristocracy in films such as Visconti’s The Leopard, money, work and power in Petri’s “Trilogy of Neurosis,” or even more recent serial productions such as Suburra: la serie.

Moviegoers in Italy have long gone to the cinema to make sense of their own society, and audiences abroad, be they middlebrow publics or activists, have long regarded Italian cinema engagé as an exemplar of leftist aesthetic praxis. While we welcome papers with a diverse range of topics and approaches to Italian cinema, we invite presentations that shed light on the histories (and futures) of Italian filmic production through this year’s PAMLA theme, "Our Ruling Classes," be they about representations of the aristocracy in films such as Visconti’s The Leopard, money, work and power in Petri’s “Trilogy of Neurosis,” or even more recent serial productions such as Suburra: la serie.