{"product_id":"mafia-movies-a-reader-second-edition-hardback-9781487500238","title":"Mafia Movies; A Reader, Second Edition (Hardback) 9781487500238","description":"\u003cfont face=\"Georgia\"\u003e\r\n\u003cp\u003e\u003cfont size=\"6\"\u003eMafia Movies\u003c\/font\u003e\u003cbr\u003e\r\n\u003cfont size=\"5\"\u003eA Reader, Second Edition\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\u003cp\u003e\u003cfont size=\"4\"\u003eDana Renga (Edited by)\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e9781487500238\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003eHardback, published 5 July 2019\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e464 pages, 28 b\u0026amp;w illustrations\u003cbr\u003e23.9 x 19.6 x 3.3 cm, 1.04 kg\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\u003cp align=\"justify\"\u003e\u003cem\u003e\u003cfont size=\"3\"\u003e\u003cp\u003e\"\u003ci\u003eMafia Movies: A Reader\u003c\/i\u003e 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.\"\u003c\/p\u003e - Inge Lanslots, KU Leuven, Belgium (\u003cem\u003eAnnali d\u0026amp;#x2019;italianistica\u003c\/em\u003e)\u003c\/font\u003e\u003c\/em\u003e\u003c\/p\u003e\r\n\r\n\u003cp align=\"justify\"\u003e\u003cstrong\u003e\u003cfont size=\"3\"\u003e\u003cp\u003eThe 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 \u003cem\u003eGodfather\u003c\/em\u003e trilogy and contemporary Italian films and television series. The only comprehensive collection of its type, \u003cem\u003eMafia Movies\u003c\/em\u003e treats over fifty films and TV shows created since 1906, while introducing Italian and Italian-American mafia history and culture. \u003c\/p\u003e \u003cp\u003eThe second edition includes new original essays on essential films and TV shows that have emerged since the publication of the first edition, such as \u003cem\u003eBoardwalk Empire\u003c\/em\u003e and \u003cem\u003eMob Wives\u003c\/em\u003e, as well as a new roundtable section on Italy\u0026amp;#x2019;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. \u003cem\u003eThe Godfather\u003c\/em\u003e and \u003cem\u003eThe Sopranos\u003c\/em\u003e) organized around themes such as adaptation, gender and politics, urban spaces, and performance and stardom.\u003c\/p\u003e\u003c\/font\u003e\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e\u003cp\u003eAcknowledgments\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003ePart One. Setting the Scene\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e1. The Corleones at Home and Abroad\u003cbr\u003eDana Renga, Ohio State University\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e2. Gender and Violence: Four Themes in the Everyday World of Mafia Wives\u003cbr\u003eJane Schneider, Graduate Center, CUNY (Emeritus) and Peter Schneider, Fordham University(Emeritus) \u003c\/p\u003e \u003cp\u003e\u003cstrong\u003ePart Two. American Mafia Movies and Television: The Corleones at Home and Abroad\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e3. Wallace McCutcheon\u0026amp;#x2019;s \u003ci\u003eThe Black Hand\u003c\/i\u003e: A Different Version of a Biograph Kidnapping\u003cbr\u003eVincenzo Maggitti, University of Stockholm\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e4 \u0026amp;#x2018;Most Thrilling Subjects\u0026amp;#x2019;: D.W. Griffith and the Biograph Revenge Films\u003cbr\u003eJoAnne Ruvoli, Ball State University\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e5. Ethnicity and the Classical Gangster Film: Mervyn LeRoy\u0026amp;#x2019;s \u003ci\u003eLittle Caesar \u003c\/i\u003eand Howard Hawks\u0026amp;#x2019;s \u003ci\u003eScarface\u003cbr\u003e\u003c\/i\u003eNorma Bouchard, San Diego State University\u003c\/p\u003e \u003cp\u003e6. Playing Good Italian\/Bad Italian on ABC\u0026amp;#x2019;s \u003ci\u003eThe Untouchables\u003cbr\u003e\u003c\/i\u003eJonathan J. Cavallero, Bates College\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e7 Prelude to \u003ci\u003eThe Godfather\u003c\/i\u003e: Martin Ritt\u0026amp;#x2019;s \u003ci\u003eThe Brotherhood\u003cbr\u003e\u003c\/i\u003eRobert Casillo, University of Miami\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e8. Michael Corleone\u0026amp;#x2019;s Tie: Francis Ford Coppola\u0026amp;#x2019;s \u003ci\u003eThe Godfather\u003cbr\u003e\u003c\/i\u003eAnthony Julian Tamburri, John D. Calandra Italian American Institute, Queens College\/CUNY\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e9. Nihilism and \u003ci\u003eMafiosita \u003c\/i\u003ein Martin Scorsese\u0026amp;#x2019;s \u003ci\u003eMean Streets\u003cbr\u003e\u003c\/i\u003ePellegrino D\u0026amp;#x2019;Acierno, Hofstra University\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e10. Thematic Patterns in Francis Ford Coppola\u0026amp;#x2019;s \u003ci\u003eThe Godfather: Part II\u003cbr\u003e\u003c\/i\u003eJohn Paul Russo, University of Miami\u003c\/p\u003e \u003cp\u003e11. The Sexual Politics of Loyalty in John Huston\u0026amp;#x2019;s \u003ci\u003ePrizzi\u0026amp;#x2019;s Honor\u003cbr\u003e\u003c\/i\u003eRebecca Bauman, Fashion Institute of Technology\u003c\/p\u003e \u003cp\u003e12. Between Postmodern Parody and Generic Hybridization: The Gangsters of Brian De Palma\u0026amp;#x2019;s \u003ci\u003eThe Untouchables\u003cbr\u003e\u003c\/i\u003eNorma Bouchard, San Diego State University\u003c\/p\u003e \u003cp\u003e13. The Bandit, the Gangster, and the American Army Shorts: Michael Cimino\u0026amp;#x2019;s \u003ci\u003eThe Sicilian\u003cbr\u003e\u003c\/i\u003eChiara Mazzucchelli, The University of Central Florida\u003c\/p\u003e \u003cp\u003e14. Martin Scorsese\u0026amp;#x2019;s \u003ci\u003eGoodfellas\u003c\/i\u003e: Hybrid Storytelling between Realism and Formalism\u003cbr\u003eFulvio Orsitto, California State University\u003c\/p\u003e \u003cp\u003e15. Redemption in Francis Ford Coppola\u0026amp;#x2019;s \u003ci\u003eThe Godfather: Part III\u003cbr\u003e\u003c\/i\u003eJohn Paul Russo, University of Miami\u003c\/p\u003e \u003cp\u003e16. Narrating the Mafia, Las Vegas, and Ethnicity in Martin Scorsese\u0026amp;#x2019;s \u003ci\u003eCasino\u003cbr\u003e\u003c\/i\u003eClaudio Bisoni, University of Bologna\u003c\/p\u003e \u003cp\u003e17. \u0026amp;#x2018;Nothing Romantic about It\u0026amp;#x2019;: Gender and the Legacy of Crime in Abel Ferrara\u0026amp;#x2019;s \u003ci\u003eThe Funeral\u003cbr\u003e\u003c\/i\u003eLara Santoro, Drew University\u003c\/p\u003e \u003cp\u003e18. Inside the Mafia: Mike Newell\u0026amp;#x2019;s \u003ci\u003eDonnie Brasco\u003cbr\u003e\u003c\/i\u003eRobert Casillo, University of Miami\u003c\/p\u003e \u003cp\u003e19. Family Therapy: Harold Ramis\u0026amp;#x2019;s \u003ci\u003eAnalyze This \u003c\/i\u003eand the Evolution of the Gangster Genre\u003cbr\u003eLouis Bayman, University of Southampton\u003c\/p\u003e \u003cp\u003e20. Martin Scorsese\u0026amp;#x2019;s \u003ci\u003eThe Departed\u003c\/i\u003e, or the Quest for a Departed (Ethnic) Identity\u003cbr\u003eMargherita Heyer-Caput, University of California\u003c\/p\u003e \u003cp\u003e21. When Words Can Kill: David Chase\u0026amp;#x2019;s \u003ci\u003eThe Sopranos\u003cbr\u003e\u003c\/i\u003eFranco Ricci, The University of Ottawa\u003c\/p\u003e \u003cp\u003e22. \u0026amp;#x2018;Don\u0026amp;#x2019;t Stop Believin\u0026amp;#x2019;, Don\u0026amp;#x2019;t Stop …\u0026amp;#x2019;: (De)Structuring Expectations in the Final Season of \u003ci\u003eThe Sopranos\u003cbr\u003e\u003c\/i\u003eGiancarlo Lombardi, College of Staten Island \u0026amp; CUNY Graduate Center\u003c\/p\u003e \u003cp\u003e23. \u0026amp;#x2018;History Doesn\u0026amp;#x2019;t Repeat Itself, but It Does Rhyme\u0026amp;#x2019;: Fictionalizing History in \u003ci\u003eBoardwalk Empire\u003cbr\u003e\u003c\/i\u003ePaolo Russo, Oxford Brookes University\u003c\/p\u003e \u003cp\u003e24. \u003ci\u003eMob Wives\u003c\/i\u003e: Exploitation or Empowerment?\u003cbr\u003eJacqueline Reich, Fordham University and Fatima Karin, Fordham University\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003ePart Three. Italian Mafia Movies and Television: Resistance and Myth\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e25. Which Law Is the Father\u0026amp;#x2019;s? Gender and Generic Oscillation in Pietro Germi\u0026amp;#x2019;s \u003ci\u003eIn the Name of the Law\u003cbr\u003e\u003c\/i\u003eDanielle Hipkins, University of Exeter, University of Exeter\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e26. The Visible, Unexposed: Francesco Rosi\u0026amp;#x2019;s \u003ci\u003eSalvatore Giuliano\u003cbr\u003e\u003c\/i\u003eLaura Wittman, Stanford University\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e27. Modernity, Mafia Style: Alberto Lattuada\u0026amp;#x2019;s \u003ci\u003eMafioso\u003cbr\u003e\u003c\/i\u003eNelson Moe, Barnard College, Columbia University\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e28. Francesco Rosi\u0026amp;#x2019;s \u003ci\u003eHands over the City\u003c\/i\u003e: A Contemporary Perspective on the Camorra\u003cbr\u003eAnna Paparcone, Bucknell University\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e29. Prototypes of the Mafia: Luchino Visconti\u0026amp;#x2019;s \u003ci\u003eThe Leopard\u003cbr\u003e\u003c\/i\u003eElizabeth Leake, Columbia University\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e30. The Failure of the Intellectual: Elio Petri\u0026amp;#x2019;s Filming of Leonardo Sciascia\u0026amp;#x2019;s \u003ci\u003eTo Each His Own\u003cbr\u003e\u003c\/i\u003eDaniela Bini, University of Texas\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e31. Damiano Damiani\u0026amp;#x2019;s \u003ci\u003eThe Day of the Owl\u003c\/i\u003e: A Western Flirtation\u003cbr\u003ePiero Garofalo, University of New Hampshire\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e32. Smaller and Larger Families: Lina Wertmüller\u0026amp;#x2019;s \u003ci\u003eThe Seduction of Mimi\u003cbr\u003e\u003c\/i\u003eThomas Harrison, University of California, Los Angeles\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e33. Deconstructing the Enigma: Logical Investigations in Francesco Rosi\u0026amp;#x2019;s \u003ci\u003eLucky Luciano\u003cbr\u003e\u003c\/i\u003eGaetana Marrone, Princeton University\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e34. Power as Such: The Idea of the Mafia in Francesco Rosi\u0026amp;#x2019;s \u003ci\u003eIllustrious Corpses\u003cbr\u003e\u003c\/i\u003eAlan O\u0026amp;#x2019;Leary, University of Leeds\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e35. Marco Risi\u0026amp;#x2019;s \u003ci\u003eForever Mary\u003c\/i\u003e: Desperate Lives Converge in Sicilia \u0026amp;#x2018;Non Bedda\u0026amp;#x2019;\u003cbr\u003eGeorge De Stefano, Author and Critic\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e36. Threads of Political Violence in Italy\u0026amp;#x2019;s Spiderweb: Giorgio Ambrosoli\u0026amp;#x2019;s Murder in Michele Placido\u0026amp;#x2019;s \u003ci\u003eA Bourgeois Hero\u003cbr\u003e\u003c\/i\u003eCarlo Testa, University of British Columbia\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e37. Sacrifice, Sacrament, and the Body in Ricky Tognazzi\u0026amp;#x2019;s \u003ci\u003eLa scorta\u003cbr\u003e\u003c\/i\u003eMyriam Swennen Ruthenberg, Florida Atlantic University\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e38. Pasquale Scimeca\u0026amp;#x2019;s \u003ci\u003ePlacido Rizzotto\u003c\/i\u003e: A Different View of Corleone\u003cbr\u003eAmy Boylan, The University of New Hampshire\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e39. Marco Tullio Giordana\u0026amp;#x2019;s \u003ci\u003eThe Hundred Steps\u003c\/i\u003e: The Biopic as Political Cinema\u003cbr\u003eGeorge De Stefano, Author and Critic\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e40. Roberta Torre\u0026amp;#x2019;s \u003ci\u003eAngela\u003c\/i\u003e: The Mafia and the \u0026amp;#x2018;Woman\u0026amp;#x2019;s Film\u0026amp;#x2019;\u003cbr\u003eCatherine O\u0026amp;#x2019;Rawe, University of Bristol\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e41. Organized Crime and Unfulfilled Promises in Gabriele Salvatores\u0026amp;#x2019; \u003ci\u003eI\u0026amp;#x2019;m Not Scared\u003cbr\u003e\u003c\/i\u003eMichael O\u0026amp;#x2019;Riley, Colorado College\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e42. Growing Up \u003ci\u003eCamorrista\u003c\/i\u003e: Antonio and Andrea Frazzi\u0026amp;#x2019;s \u003ci\u003eCerti bambini\u003cbr\u003e\u003c\/i\u003eAllison Cooper, Bowdoin College\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e43. Lipstick and Chocolate: Paolo Sorrentino\u0026amp;#x2019;s \u003ci\u003eThe Consequences of Love\u003cbr\u003e\u003c\/i\u003eMary P Wood, Birkbeck, University of London\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e44. The In(di)visibility of the Mafia, Politics, and Ethics in Bianchi and Nerazzini\u0026amp;#x2019;s \u003ci\u003eThe Mafia Is White\u003cbr\u003e\u003c\/i\u003eRobin Pickering-Iazzi, The University of Wisconsin\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e45. Marco Turco\u0026amp;#x2019;s \u003ci\u003eExcellent Cadavers\u003c\/i\u003e: An Italian Tragedy\u003cbr\u003eMaddalena Spazzini, Richmond College\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e46. Dispatches from Hell: Matteo Garrone\u0026amp;#x2019;s \u003ci\u003eGomorrah\u003cbr\u003e\u003c\/i\u003ePierpaolo Antonello, The University of Cambridge\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e47. From Comedy to Commemoration: Pierfrancesco Diliberto\u0026amp;#x2019;s \u003ci\u003eLa mafia uccide solo d\u0026amp;#x2019;estate\u003cbr\u003e\u003c\/i\u003eMillicent Marcus, Yale University\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e48. Fabio Grassadonia and Antonio Piazza\u0026amp;#x2019;s \u003ci\u003eSalvo\u003c\/i\u003e: The Sound of Redemption in an Infernal Landscape\u003cbr\u003eAmy Boylan, The University of New Hampshire\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e49. Of Renegades and Game Players: Shifting Sympathies in \u003ci\u003eGomorra: la serie\u003cbr\u003e\u003c\/i\u003eGiancarlo Lombardi, College of Staten Island \u0026amp; CUNY Graduate Center\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003ePart Four. Italy\u0026amp;#x2019;s Other Mafias in Film and on Television: A Roundtable\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e50. Introduction – The Banda della Magliana, the Camorra, the \u0026amp;#x2019;Ndrangheta, and the Sacra Corona Unita: The Mafia On Screen beyond the Cosa Nostra\u003cbr\u003eDana Renga, Ohio State University\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e51. Historicizing Italy\u0026amp;#x2019;s Other Mafias: Some Considerations\u003cbr\u003eJohn Dickie, University College London\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e52. \u003ci\u003eRomanzo criminale\u003c\/i\u003e: Roma Caput Violandi\u003cbr\u003eAllison Cooper, Bowdoin College\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e53. \u003ci\u003eRomanzo criminale: la serie\u003cbr\u003e\u003c\/i\u003eCatherine O\u0026amp;#x2019;Rawe, University of Bristol\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e54. Toxic Tables: The Representation of Food in Camorra Films\u003cbr\u003eAmy Boylan, The University of New Hampshire\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e55. The New Mafia in \u003ci\u003eUna vita tranquilla\u003cbr\u003e\u003c\/i\u003eGiovanna De Luca, College of Charleston\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e56. Soap Operas\u003cbr\u003eGiancarlo Lombardi, College of Staten Island \u0026amp; CUNY Graduate Center\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e57. Response #1\u003cbr\u003eRobert Gordon, The University of Cambridge\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e58. Response #2\u003cbr\u003eDanielle Hipkins, University of Exeter\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e59. Response #3\u003cbr\u003eRobin Pickering-Iazzi, The University of Wisconsin\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e60. Conclusion\u003cbr\u003eAllison Cooper, Bowdoin College\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003ePart Five. Double Takes\u003c\/strong\u003e\u003c\/p\u003e\n\u003ci\u003e \u003c\/i\u003e\u003cp\u003e\u003cstrong\u003eThe Godfather\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e61. \u003ci\u003eThe Godfather\u003c\/i\u003e: Performance and Stardom\u003cbr\u003eDominic Holdaway, Università Cattolica del Sacro Cuor\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e62. \u003ci\u003eThe Godfather\u003c\/i\u003e: Adaptation\u003cbr\u003eAlberto Zambenedetti, University of Toronto\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e63. \u003ci\u003eThe Godfather\u003c\/i\u003e: Gender\u003cbr\u003eDana Renga, Ohio State University\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e64. \u003ci\u003eThe Godfather\u003c\/i\u003e: Scene Analysis – Don Vito\u0026amp;#x2019;s Office\u003cbr\u003eAlberto Zambenedetti, University of Toronto\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e65. \u003ci\u003eThe Godfather\u003c\/i\u003e: Scene Analysis – The Baptism\/Murder\u003cbr\u003eAlberto Zambenedetti, University of Toronto\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e66. \u003ci\u003eThe Godfather\u003c\/i\u003e: Scene Analysis – The Finale\u003cbr\u003eDaniel Paul, The Ohio State University\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e\n\u003ci\u003e \u003c\/i\u003e\u003cp\u003e\u003cstrong\u003eThe Sopranos\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e67. \u003ci\u003eThe Sopranos\u003c\/i\u003e: Antiheroic Masculinity\u003cbr\u003eDana Renga, Ohio State University\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e68. \u003ci\u003eThe Sopranos\u003c\/i\u003e: Gender\u003cbr\u003eDominic Holdaway, Università Cattolica del Sacro Cuor\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e69. \u003ci\u003eThe Sopranos\u003c\/i\u003e: (Sub)Urban Space\u003cbr\u003eAlberto Zambenedetti, University of Toronto\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e70. \u003ci\u003eThe Sopranos\u003c\/i\u003e: Episode 1.01, \u0026amp;#x2018;The Sopranos\u0026amp;#x2019;\u003cbr\u003eDominic Holdaway, Università Cattolica del Sacro Cuor\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e71 \u003ci\u003eThe Sopranos\u003c\/i\u003e: Episode 1.05, \u0026amp;#x2018;College\u0026amp;#x2019;\u003cbr\u003eSean O\u0026amp;#x2019;Sullivan, The Ohio State University\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e72. \u003ci\u003eThe Sopranos\u003c\/i\u003e: Episode 2.04, \u0026amp;#x2018;Commendatori\u0026amp;#x2019;\u003cbr\u003eSean O\u0026amp;#x2019;Sullivan, The Ohio State University\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e\n\u003ci\u003e \u003c\/i\u003e\u003cp\u003e\u003cstrong\u003eRomanzo criminale\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e73. \u003ci\u003eRomanzo criminale\u003c\/i\u003e: Performance and Stardom\u003cbr\u003eCatherine O\u0026amp;#x2019;Rawe, University of Bristol\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e74. \u003ci\u003eRomanzo criminale\u003c\/i\u003e: Adaptation\/Transmedia\u003cbr\u003eDominic Holdaway, Università Cattolica del Sacro Cuor\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e75. \u003ci\u003eRomanzo criminale\u003c\/i\u003e: Gender\u003cbr\u003eDanielle Hipkins, University of Exeter\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e76. \u003ci\u003eRomanzo criminale\u003c\/i\u003e: Politics and Terrorism\u003cbr\u003eDominic Holdaway, Università Cattolica del Sacro Cuor\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e77. \u003ci\u003eRomanzo criminale\u003c\/i\u003e: Scene Analysis – The Aldo Moro Kidnapping\u003cbr\u003eCatherine O\u0026amp;#x2019;Rawe, University of Bristol\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e78. \u003ci\u003eRomanzo criminale\u003c\/i\u003e: Scene Analysis – The Bologna Bombing\u003cbr\u003eAlan O\u0026amp;#x2019;Leary, University of Leeds\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e\n\u003ci\u003e \u003c\/i\u003e\u003cp\u003e\u003cstrong\u003eGomorrah\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e79. \u003ci\u003eGomorrah\u003c\/i\u003e: Gender\u003cbr\u003eElena Past, Wayne State University\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e80. \u003ci\u003eGomorrah\u003c\/i\u003e: Metacinematic References\u003cbr\u003eAlberto Zambenedetti, University of Toronto\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e81. \u003ci\u003eGomorrah\u003c\/i\u003e: Urban Space\u003cbr\u003eMonica Seger, William and Mary University\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e82. \u003ci\u003eGomorrah\u003c\/i\u003e: Scene Analysis – Opening Sequence\u003cbr\u003eAlberto Zambenedetti, University of Toronto\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e83. \u003ci\u003eGomorrah\u003c\/i\u003e: Scene Analysis – The Initiation of Totò\u003cbr\u003eAlberto Zambenedetti, University of Toronto\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e \u003cp\u003e84. \u003ci\u003eGomorrah\u003c\/i\u003e: Scene Analysis – The Finale\u003cbr\u003eMonica Seger, William and Mary University\u003c\/p\u003e \u003cp\u003e\u003c\/p\u003e\n\u003ci\u003e \u003c\/i\u003e\u003cp\u003eFilmography\u003c\/p\u003e \u003cp\u003eSelected Bibliography\u003c\/p\u003e \u003cp\u003eContributors\u003c\/p\u003e\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\u003c\/font\u003e","brand":"University of Toronto Press","offers":[{"title":"Brand New","offer_id":52595447857432,"sku":"9781487500238","price":53.89,"currency_code":"GBP","in_stock":true}],"url":"https:\/\/freshlyprintedbooks.co.uk\/products\/mafia-movies-a-reader-second-edition-hardback-9781487500238","provider":"Freshly Printed Books","version":"1.0","type":"link"}