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Mafia Movies
A Reader, Second Edition
Dana Renga (Edited by)
9781487500238
Hardback, published 5 July 2019
464 pages, 28 b&w illustrations
23.9 x 19.6 x 3.3 cm, 1.04 kg
"Mafia Movies: A Reader is a rich resource for those interested in the representation of mafias in American and Italian productions. […] The revised edition not only has a broader scope but it has also doubled the number of contributions on about fifty productions which makes it useful both to scholars and students alike."
The mafia has always fascinated filmmakers and television producers. Al Capone, Salvatore Giuliano, Lucky Luciano, Ciro Di Marzio, Roberto Saviano, Don Vito and Michael Corleone, and Tony Soprano are some of the historical and fictional figures that contribute to the myth of the Italian and Italian-American mafias perpetuated onscreen. This collection looks at mafia movies and television over time and across cultures, from the early classics to the Godfather trilogy and contemporary Italian films and television series. The only comprehensive collection of its type, Mafia Movies treats over fifty films and TV shows created since 1906, while introducing Italian and Italian-American mafia history and culture. The second edition includes new original essays on essential films and TV shows that have emerged since the publication of the first edition, such as Boardwalk Empire and Mob Wives, as well as a new roundtable section on Italy’s "other" mafias in film and television, written as a collaborative essay by more than ten scholars. The edition also introduces a new section called "Double Takes" that elaborates on some of the most popular mafia films and TV shows (e.g. The Godfather and The Sopranos) organized around themes such as adaptation, gender and politics, urban spaces, and performance and stardom.
Acknowledgments Part One. Setting the Scene 1. The Corleones at Home and Abroad 2. Gender and Violence: Four Themes in the Everyday World of Mafia Wives 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 4 ‘Most Thrilling Subjects’: D.W. Griffith and the Biograph Revenge Films 5. Ethnicity and the Classical Gangster Film: Mervyn LeRoy’s Little Caesar and Howard Hawks’s Scarface 6. Playing Good Italian/Bad Italian on ABC’s The Untouchables 7 Prelude to The Godfather: Martin Ritt’s The Brotherhood 8. Michael Corleone’s Tie: Francis Ford Coppola’s The Godfather 9. Nihilism and Mafiosita in Martin Scorsese’s Mean Streets 10. Thematic Patterns in Francis Ford Coppola’s The Godfather: Part II 11. The Sexual Politics of Loyalty in John Huston’s Prizzi’s Honor 12. Between Postmodern Parody and Generic Hybridization: The Gangsters of Brian De Palma’s The Untouchables 13. The Bandit, the Gangster, and the American Army Shorts: Michael Cimino’s The Sicilian 14. Martin Scorsese’s Goodfellas: Hybrid Storytelling between Realism and Formalism 15. Redemption in Francis Ford Coppola’s The Godfather: Part III 16. Narrating the Mafia, Las Vegas, and Ethnicity in Martin Scorsese’s Casino 17. ‘Nothing Romantic about It’: Gender and the Legacy of Crime in Abel Ferrara’s The Funeral 18. Inside the Mafia: Mike Newell’s Donnie Brasco 19. Family Therapy: Harold Ramis’s Analyze This and the Evolution of the Gangster Genre 20. Martin Scorsese’s The Departed, or the Quest for a Departed (Ethnic) Identity 21. When Words Can Kill: David Chase’s The Sopranos 22. ‘Don’t Stop Believin’, Don’t Stop …’: (De)Structuring Expectations in the Final Season of The Sopranos 23. ‘History Doesn’t Repeat Itself, but It Does Rhyme’: Fictionalizing History in Boardwalk Empire 24. Mob Wives: Exploitation or Empowerment? 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 26. The Visible, Unexposed: Francesco Rosi’s Salvatore Giuliano 27. Modernity, Mafia Style: Alberto Lattuada’s Mafioso 28. Francesco Rosi’s Hands over the City: A Contemporary Perspective on the Camorra 29. Prototypes of the Mafia: Luchino Visconti’s The Leopard 30. The Failure of the Intellectual: Elio Petri’s Filming of Leonardo Sciascia’s To Each His Own 31. Damiano Damiani’s The Day of the Owl: A Western Flirtation 32. Smaller and Larger Families: Lina Wertmüller’s The Seduction of Mimi 33. Deconstructing the Enigma: Logical Investigations in Francesco Rosi’s Lucky Luciano 34. Power as Such: The Idea of the Mafia in Francesco Rosi’s Illustrious Corpses 35. Marco Risi’s Forever Mary: Desperate Lives Converge in Sicilia ‘Non Bedda’ 36. Threads of Political Violence in Italy’s Spiderweb: Giorgio Ambrosoli’s Murder in Michele Placido’s A Bourgeois Hero 37. Sacrifice, Sacrament, and the Body in Ricky Tognazzi’s La scorta 38. Pasquale Scimeca’s Placido Rizzotto: A Different View of Corleone 39. Marco Tullio Giordana’s The Hundred Steps: The Biopic as Political Cinema 40. Roberta Torre’s Angela: The Mafia and the ‘Woman’s Film’ 41. Organized Crime and Unfulfilled Promises in Gabriele Salvatores’ I’m Not Scared 42. Growing Up Camorrista: Antonio and Andrea Frazzi’s Certi bambini 43. Lipstick and Chocolate: Paolo Sorrentino’s The Consequences of Love 44. The In(di)visibility of the Mafia, Politics, and Ethics in Bianchi and Nerazzini’s The Mafia Is White 45. Marco Turco’s Excellent Cadavers: An Italian Tragedy 46. Dispatches from Hell: Matteo Garrone’s Gomorrah 47. From Comedy to Commemoration: Pierfrancesco Diliberto’s La mafia uccide solo d’estate 48. Fabio Grassadonia and Antonio Piazza’s Salvo: The Sound of Redemption in an Infernal Landscape 49. Of Renegades and Game Players: Shifting Sympathies in Gomorra: la serie 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 51. Historicizing Italy’s Other Mafias: Some Considerations 52. Romanzo criminale: Roma Caput Violandi 53. Romanzo criminale: la serie 54. Toxic Tables: The Representation of Food in Camorra Films 55. The New Mafia in Una vita tranquilla 56. Soap Operas 57. Response #1 58. Response #2 59. Response #3 60. Conclusion Part Five. Double Takes The Godfather 61. The Godfather: Performance and Stardom 62. The Godfather: Adaptation 63. The Godfather: Gender 64. The Godfather: Scene Analysis – Don Vito’s Office 65. The Godfather: Scene Analysis – The Baptism/Murder 66. The Godfather: Scene Analysis – The Finale The Sopranos 67. The Sopranos: Antiheroic Masculinity 68. The Sopranos: Gender 69. The Sopranos: (Sub)Urban Space 70. The Sopranos: Episode 1.01, ‘The Sopranos’ 71 The Sopranos: Episode 1.05, ‘College’ 72. The Sopranos: Episode 2.04, ‘Commendatori’ Romanzo criminale 73. Romanzo criminale: Performance and Stardom 74. Romanzo criminale: Adaptation/Transmedia 75. Romanzo criminale: Gender 76. Romanzo criminale: Politics and Terrorism 77. Romanzo criminale: Scene Analysis – The Aldo Moro Kidnapping 78. Romanzo criminale: Scene Analysis – The Bologna Bombing Gomorrah 79. Gomorrah: Gender 80. Gomorrah: Metacinematic References 81. Gomorrah: Urban Space 82. Gomorrah: Scene Analysis – Opening Sequence 83. Gomorrah: Scene Analysis – The Initiation of Totò 84. Gomorrah: Scene Analysis – The Finale Filmography Selected Bibliography Contributors
Dana Renga, Ohio State University
Jane Schneider, Graduate Center, CUNY (Emeritus) and Peter Schneider, Fordham University(Emeritus)
Vincenzo Maggitti, University of Stockholm
JoAnne Ruvoli, Ball State University
Norma Bouchard, San Diego State University
Jonathan J. Cavallero, Bates College
Robert Casillo, University of Miami
Anthony Julian Tamburri, John D. Calandra Italian American Institute, Queens College/CUNY
Pellegrino D’Acierno, Hofstra University
John Paul Russo, University of Miami
Rebecca Bauman, Fashion Institute of Technology
Norma Bouchard, San Diego State University
Chiara Mazzucchelli, The University of Central Florida
Fulvio Orsitto, California State University
John Paul Russo, University of Miami
Claudio Bisoni, University of Bologna
Lara Santoro, Drew University
Robert Casillo, University of Miami
Louis Bayman, University of Southampton
Margherita Heyer-Caput, University of California
Franco Ricci, The University of Ottawa
Giancarlo Lombardi, College of Staten Island & CUNY Graduate Center
Paolo Russo, Oxford Brookes University
Jacqueline Reich, Fordham University and Fatima Karin, Fordham University
Danielle Hipkins, University of Exeter, University of Exeter
Laura Wittman, Stanford University
Nelson Moe, Barnard College, Columbia University
Anna Paparcone, Bucknell University
Elizabeth Leake, Columbia University
Daniela Bini, University of Texas
Piero Garofalo, University of New Hampshire
Thomas Harrison, University of California, Los Angeles
Gaetana Marrone, Princeton University
Alan O’Leary, University of Leeds
George De Stefano, Author and Critic
Carlo Testa, University of British Columbia
Myriam Swennen Ruthenberg, Florida Atlantic University
Amy Boylan, The University of New Hampshire
George De Stefano, Author and Critic
Catherine O’Rawe, University of Bristol
Michael O’Riley, Colorado College
Allison Cooper, Bowdoin College
Mary P Wood, Birkbeck, University of London
Robin Pickering-Iazzi, The University of Wisconsin
Maddalena Spazzini, Richmond College
Pierpaolo Antonello, The University of Cambridge
Millicent Marcus, Yale University
Amy Boylan, The University of New Hampshire
Giancarlo Lombardi, College of Staten Island & CUNY Graduate Center
Dana Renga, Ohio State University
John Dickie, University College London
Allison Cooper, Bowdoin College
Catherine O’Rawe, University of Bristol
Amy Boylan, The University of New Hampshire
Giovanna De Luca, College of Charleston
Giancarlo Lombardi, College of Staten Island & CUNY Graduate Center
Robert Gordon, The University of Cambridge
Danielle Hipkins, University of Exeter
Robin Pickering-Iazzi, The University of Wisconsin
Allison Cooper, Bowdoin College
Dominic Holdaway, Università Cattolica del Sacro Cuor
Alberto Zambenedetti, University of Toronto
Dana Renga, Ohio State University
Alberto Zambenedetti, University of Toronto
Alberto Zambenedetti, University of Toronto
Daniel Paul, The Ohio State University
Dana Renga, Ohio State University
Dominic Holdaway, Università Cattolica del Sacro Cuor
Alberto Zambenedetti, University of Toronto
Dominic Holdaway, Università Cattolica del Sacro Cuor
Sean O’Sullivan, The Ohio State University
Sean O’Sullivan, The Ohio State University
Catherine O’Rawe, University of Bristol
Dominic Holdaway, Università Cattolica del Sacro Cuor
Danielle Hipkins, University of Exeter
Dominic Holdaway, Università Cattolica del Sacro Cuor
Catherine O’Rawe, University of Bristol
Alan O’Leary, University of Leeds
Elena Past, Wayne State University
Alberto Zambenedetti, University of Toronto
Monica Seger, William and Mary University
Alberto Zambenedetti, University of Toronto
Alberto Zambenedetti, University of Toronto
Monica Seger, William and Mary University