Giorgio Bertellini, Director Of Graduate Studies and Assistant Professor, Screen Arts & Cultures, Department of Romance Languages and Literature, University of Michigan

Education                              

2001-2004: Postdoctoral Fellow at the Michigan Society of Fellows, University of Michigan 

2001: Ph.D. with distinction in Cinema Studies at the Tisch School of the Arts, NYU

1994: M.A. in Cinema Studies - Tisch School of the Arts, NYU

1991: B.A. in Philosophy at Universita' Cattolica, Milan, Italy; Graduating marks 110/110
Summa Cum Laude

Employment

2004- current: Assistant Professor, Departments of Screen Arts and Cultures and Romance Languages and Literatures, University of Michigan

2001-2004: Visiting Assistant Professor, Department of Screen Arts and Cultures (former Film & Video Studies Program), University of Michigan

1998-2001: Adjunct Professor, School of Visual Arts (New York)

2000-2001: Adjunct Professor, Department of History, CUNY-Queens College

2000-2001: Adjunct Professor, Department of Communication Arts, Manhattan Marymount College

1998: Lecturer in Film Studies at UC Davis, Departments of French & Italian and Humanities (Winter & Spring Quarters)

1998-96: Adjunct Professor, Department of Cinema Studies, NYU (Fall 1998 and Fall 1996)

Current and forthcoming publications

Books:

1. Italy in Early American Cinema: Race, Language, and the Picturesque (Indiana University Press; in press; forthcoming November 2009)

http://www.amazon.com/Italy-Early-American-Cinema-Picturesque/dp/0253221285/ref=sr_1_1?ie=UTF8&s=books&qid=1246468827&sr=8-1

2. Emir Kusturica (Milan: Castoro Edizioni, 1996; 2nd expanded ed., 2010)

Edited Collections:

3. Editor: Italian Silent Cinema: A Reader (London: John Libbey, forthcoming 2010); distributed By Indiana University Press.

4. Co-Editor (with Richard Abel and Rob King): Early Cinema and the "National" (London: John Libbey, 2008) distributed by Indiana University Press.   

http://www.amazon.com/Early-Cinema-National-Richard-Abel/dp/0861966899/ref=sr_1_3?ie=UTF8&s=books&qid=1246468827&sr=8-3

5. Editor: 24 Frames: The Cinema of Italy (London: Wallflower Press, 2004; 2007); distributed by Columbia University Press.

http://www.amazon.com/Cinema-Italy-24-Frames/dp/1903364981/ref=ed_oe_p

6. Editor: Emir Kusturica: A Collection of Critical Contributions (Rome: Dino Audino Editore, 1995)

Edited Journal Issues:
7. Special Issue on “Early Italian Cinema,” Film History: An International Journal vol.12, no.3 (Fall 2000): 235-329.

Journal Essays (peer reviewed)
8. [With Jacqueline Reich], "DVD Supplements: A Commentary on Commentaries, " Cinema Journal, vol. 49, no. 3 (forthcoming; Spring 2010; Special Issues on "Professional Development")

9. “Duce/Divo: Displaced Rhetorics of Masculinity, Racial Identity, and Politics Among Italian-Americans in 1920’s New York City,” Journal of Urban History vol.31, no.5 (2005): 685-726.

10. “Black Hands and White Hearts. Italian Immigrants as Urban Racial Types in Early 20th Century American Cinema,” Urban History vol.31, no.3 (2004): 374-398.

11. “Breaking the Mimetic Contract: Notes on Ideology, Intersubjectivity, and Film Theory” and “‘Ideology’ and ‘Public Sphere’: A Preliminary Bibliography” co-authored with C. Paul Sellors, Reconstruction: An Interdisciplinary Cultural Studies Community (eJournal), Winter 2002 (www.reconstruction.ws)

12-13. “Italian Imageries, Historical Feature Films, and the Fabrication of Italy's Spectators in Early 1900s New York,” in English in Comunicazioni Sociali (Milan), vol.23, no.2 (May/August 2001): 152-168. A longer version appeared in The Italian American Review vol.7, no.1 (Spring/Summer 1999): 27-62.

14. “Shipwrecked Spectators: Italy's Immigrants at the Movies in New York, 1906-1916,” The Velvet Light Trap 44, Fall 1999 (Special Issue on “Beyond the Image: Race and Ethnicity in the Media”): 39-53.

15. Contributor for “Italy” to the volume entitled Early and Silent Film to ABES (Annotated Bibliography of English Studies), an indexed and annotated digital bibliography (CD-Rom) for academic libraries, published by Swets & Zeitlinger (1998): 13 entries.

16. “A Battle d'Arrière-Garde: Notes on Decadence in Luchino Visconti's Death in Venice,” Film Quarterly v.50 no.4 (Summer 1997): 11-19.

17. “Restoration, Genealogy, and Palimpsests: On Some Historiographical Questions,” Film History v.7, no.3 (Fall 1995): 277-290 (Special Issue on “Film Preservation and Film  Scholarship”).

18. “Projecting Contexts, Receptions, Technologies, and Films,” KINTOP : Yearbook of Early Cinema Studies (Germany), no.3 (1994): 205-207.

19. “Ethnic Unconscious in the Film Experience of the New York Italian Community, 1907-1915,” NEMLA Italian Studies, vol.18 (1994): 131-148.

Book Chapters

Reviewed by anonymous outside readers
20. “The Atlantic Divo: Valentino in Italy,” in Donna Gabaccia and Loretta Baldassar eds., Intimacy Across Borders: The Italian Nation in a Mobile World (New York: Fordham University Press, forthcoming 2009), pp.31.

21-22. "Making Space: Luna 10 and Bilocation by Marina Gržinić and Aina Smid, " in Marina Gržinić in Tanja Velagic eds., Moments of Decision: The Performative, Political, and Technological. Artistic Video, Film and Interactive Multimedia Works by Marina Gržinić and Aina Smid 1982–2005 (Ljubljana: Drustvo ZAK, 2006), 110-116. [in Slovenian] and in Marina Gržinić and Tanja Velagić eds., Video: New Media Technology, Science and Politics (Vienna: Löcker Verlag, 2008), 193-214. [in English] reprinted in Edit Andras ed., Transitland Europa: Video Art from Central and Eastern Europe, 1989-2009 (Budapest: Ludwig Museum-Museum of Contempory Art, 2009), 45-56. 

23. “Ethnic Self-Fashioning at the Cafè-Chantant: Italian Immigrants at the Movies in New York, 1906-1916, in William Boelhower and Anna Scacchi eds., Public Space/Private Lives: Race, Gender, Class and Citizenship in New York, 1890-1929 (Amsterdam: VU University Press, 2004), 39-66.

24. “Colonial Autism: Whitened Heroes, Auditory Rhetorics, and National Identity in Interwar Italian Cinema,” in Patrizia Palumbo ed., A Place in the Sun: Africa in Italian Colonial Culture (Berkeley: University of California Press, 2003), 255-278.

25. “Dubbing L'Arte Muta. 'Cinema Under Fascism' and the Expressive Layerings of Italian Early Sound Cinema,” in Jacqueline Reich and Piero Garofalo, eds., Re-viewing Fascism: Italian Cinema, 1922-1943 (Bloomington: Indiana University Press, 2002), 30-82.

Reviewed by the Editor(s)

26. "Divo/Duce: Virrilita italiane nell' America degli anni venti," in Silvio Alovisio and Giulia Carluccio eds., Intorno a Rodolfo Valentino: Cinema, Cultures, Societa, tra Italia e USA negli Anni Venti (Turin: Universita di Torino-Kaplan, 2010).

27. “George Beban: Character of the Urban Picturesque,” in Jennifer Bean ed., Star Decades: the 1910s (New Brunswick, NJ: Rutgers University Press, forthcoming 2009), 30 pp.

28. “White Passion: Italian New Yorker Cinema and the Temptations of Pain,” in Giuliana Muscio, Giovanni Spagnoletti, Joseph Sciorra, and Anthony Julian Tamburri eds., Mediated Ethnicity: The New Italian-American Cinema (New York: John D. Calandra Italian American Institute, forthcoming 2009), 11 pp

29. “Il cinema italiano visto dall'America” in Leonardo Quaresima ed., Storia del cinema
italiano (1924-1933) (Venice and Rome: Marsilio/Edizioni di Bianco & Nero, forthcoming 2009), 8pp.

30. “National and Racial Landscapes and the Photographic Form,” in Richard Abel,
Giorgio Bertellini, and Rob King eds., Early Cinema and the “National” (London: John Libbey, 2008), 27-41.

31. “Passioni bianche: Il cinema italo-newyorchese e le tentazioni del dolore,” in Giuliana Muscio ed., Quei bravi ragazzi . Il cinema italoamericano contemporaneo (Venice: Marsilio, 2007), 89-98.

32. "Storia, culture e linguaggio italiani fuori d'Italia: il caso di due film italo-americani da poco restaurati" in Narrare la storia: dal documento al racconto (Milian: Mondadori, 2006), 304-319; 469-473.

33. “Cabiria e gli Stati Uniti,” in Silvio Alovisio and Alberto Barbera eds., Cabiria and Cabiria (Turin: Lindau, 2006), 174-180.

34. “Black Hands and White Hearts. Southern Italian Immigrants, Crime, and Race in
Early American Cinema,” in Lee Grieveson, Esther Sonnet and Peter Stanfield eds.,
Mob Culture: Hidden Histories of the American Gangster Film (Brunswick, N.J.: Rutgers University Press, 2005), 207-237.    

35. “Profondo Rosso” in G. Bertellini, ed., 24 Frames: The Cinema of Italy (London: Wallflower Press, 2004; 2nd print, 2007), 213-222.

36. “E Pluribus Unum? Storie e discorsi sul pubblico cinematografico americano dagli anni Trenta agli anni Cinquanta,” in Mariagrazia Fanchi and Elena Mosconi, eds., Film Audience Studies: Consumo e pubblico del cinema in Italia (Rome: Bianco & Nero, 2003), 228-250.

37. “Restoration, Genealogy, and Palimpsests: On Some Historiographical Questions,”
in Michael Minden and Holger Bachman eds., Fritz Lang’s Metropolis: Cinematic Visions of Technology and Fear (Rochester, NY: Camden House, 2000), 140-157; previously published in Film History v.7, no.3 (Fall 1995): 277-290.

38. “Spectateurs naufragés: Les immigrants italiens dans les cinémas de New York,” (trans. G. Lacasse) in André Gaudreault, Germain Lacasse, and Isabelle Raynauld eds., Le Cinéma en histoire. Institution cinématographique, réception filmique et reconstitution historique (Paris/Québec City: Méridiens Klincksieck/Editions Nota Bene, 1999), 265-281.

39. “Il 'popolare' fra immagine e parola. Note sparse su neorealismo, Gramsci e le belle
bugie di Zavattini,” in Pierluigi Ercole ed., Diviso in Due: Cesare Zavattini: Cinema e Cultura Popolare (Reggio Emilia: Diabasis, 1999), 107-119.

40. “New York City and the Representation of Italian-Americans in US Cinema,” in Philip V. Cannistraro, ed., The Italians of New York: Five Centuries of Struggle and Achievement (New York: New York Historical Society and The John D. Calandra Italian American Institute, 1999), 115-128.

41. “Italian Imageries, Historical Feature Films, and the Fabrication of Italy's Spectators in
Early 1900s New York,” in Richard Maltby and Melvin Stokes, eds., American Movie Audiences: From the Turn of the Century to the  Early Sound Era (London: British Film Institute, 1999), 29-45.

42. “Ambiguous Sovereignties: Notes on the Suburbs in Italian Cinema,” (co-written with Saverio Giovacchini) in Peter Lang and Tam Miller, eds., Suburban Discipline, (New York: Princeton Architectural Press, 1997), 86-111.

43. “L'espansione video del clip. Ipotesi di un'indagine sulla fruizione” and “Video insegne. Il richiamo di quale scrittura?,” in Guido Michelone  ed., Dal  Cinema al Video Tempi Postmoderni tra Film e Clip (Rome: CGS, 1992), 63-70 and 91-100.

In preparation

44. “Primitive Nobilities: Nobleza Gaucha (Gaucho Nobility, 1915) and Argentina’s Modern National Landscapes.”

45. “Gramsci, Neorealism and Zavattini’s Beautiful Lies.”

46. “You Can Go Home Again (and Again): Santa Lucia Luntana (1931), the Film,” in Joe Sciorra ed., Neapolitan Postcards: The Canzone Napoletana as Transnational Subject (New York: Calandra Italian American Institute, forthcoming 2010), 20pp.

47. “Photography and Early Cinema,” in G. Bertellini ed., Italian Silent Cinema: A Reader
(London: John Libbey, forthcoming 2010), 15pp.

Entries in Dictionaries and Encyclopedias - reviewed by Editor(s)
48. #4 entries (“Film Theory and Criticism,” “Luchino Visconti,” “La Terra Trema,” and “Cesare Zavattini,” to Gaetana Marrone ed., Encyclopaedia of Italian Literature (New York: Routledge, 2007), 722-728; 1994-1999; 1999-2000; 2042-2045.

49. #12 entries to Gian Piero Brunetta ed., Storia del Cinema Mondiale: Dizionario dei Registi [History of World Cinema: Dictionary of Filmmakers] 3 voll. (Turin: Einaudi, 2005-6), total pp. 30.

50. “Italian American Cinema”  in Emmanuel S. Nelson, ed., Encyclopedia of Ethnic American Literature (New York: Greenwood Press, 2005; 5 voll.), 1084-1089.

51. #36 entries to Richard Abel ed., Encyclopedia of Early Cinema (New York: Routledge, 2005), total pp.50

52. “Epica spettacolare e splendore del vero. L'influenza del cinema storico italiano in America (1908-1915),” in Gian Piero Brunetta ed., Storia del cinema mondiale Vol.2 Gli Stati Uniti, part I (Turin: Einaudi, 1999), 227-265.

Translations:
53. Six essays in Bertellini ed., Silent Italian Cinema: A Reader (London: John Libbey, forthcoming 2010).

54. “Matilde Serao: What A Spectatrix Says,” (From the Italian periodical L'Arte Muta, Naples, May 1916), included in Antonia Lant ed. The Red Velvet Seat: Women's Writings on the Cinema: The First Fifty Years (London: Verso, 2006), 97-99.

55. “Il posto/The Job,” in G. Bertellini ed., 24 Frames: Italy. Wallflower Guide to Italian Cinema (London: Wallflower Press, 2004), 123-131.

56. Five essays included in the Special Issue on “Early Italian Cinema,” Film History: An
International Journal  vol.12, no.3 (Fall 2000), 235-329.   

Book Reviews:   
57. Randolph Lewis, Emile de Antonio. Radical Filmmaker in Cold War America (Madison: University of Wisconsin Press, 2000) and Douglas Kellner and Dan Streible eds., Emile De Antonio: A Reader (Minneapolis: University of Minnesota Press, 2000) for The Italian American Review vol.9, no.2 (Fall/Winter 2002): 129-132.

58. Vincent F. Rocchio, Cinema of Anxiety. A Psychoanalysis of Italian Neorealism (Austin: University of Texas Press) for Italian Culture 20: 1-2 (December 2002): 189-193.        

Fellowships, Honors and Awards

External

Sargeant-Faull Fellow, Radcliffe Institute for Advanced Studies (Harvard), 2007-08 (accepted)

Fellowship, Humanities Institute, University of Connecticut, Academic Year 2007-08 (declined)

2002 Society for Cinema Studies Dissertation Award (co-winner); May 2002.

Fondazione Maria and Goffredo Bellonci Fellowship, award for emerging Italian scholars; March 2002.

Michigan Society of Fellows, Postdoctoral Fellowship, University of Michigan (2001-2004)

CNR Fellowship (National Research Centre, Italy) for research at the Center for Migration
Studies (Staten Island, New York); Spring/Summer 2000.

CNR Fellowship (National Research Centre, Italy) for research at the Center for Migration
Studies (Staten Island, New York); May 1999/April 2000.

CNR Fellowship (National Research Centre, Italy) for research at the Immigration History
Research Center, Saint Paul, MN: Summer 1998.

Internal

Instructional Development Fund, University of Michigan (CRLT), Winter 2009.

Publication Subvention Award, University of Michigan, Summer 2008.

Faculty Fellowship Enhancement Award, University of Michigan, 2007-08.

Faculty Development Fund, University of Michigan (CRLT), Winter 2007.

Center for European Studies and the European Union Center; U of M; Publication support:
Fall 2006.                             

Spring/Summer Research Grant Program (Horace H. Rackham School of Graduate
Studies, U of M): Summer 2006.

Teaching and Technology Fellowship, U of M - CRLT, May 2004.

Horace H. Rackham School of Graduate Studies Grant & Fellowship, U of M. Summer
2003.

Jay Leyda Award for Outstanding Academic Achievement, NYU/Tisch, May 2002.

Dean’s Fellowship - NYU/Graduate School of Arts and Sciences Dissertation Award,
1998/1999.

Patricia Dunn Lehrman Fellowship, NYU, Fall 1997

George Amberg Memorial/Jerome Foundation Dissertation Award, Spring 1997

NYU/Graduate School of Arts and Science Summer Fellowship. Travel Awards, 1996,
1997, 1998.

Invited Talks and Lectures

1. “Italian Cinema as Tourism,” Universiy of Gastronomic Science (Parma, Italy), four 3-hr lectures; June 15, 2009.

2. “Valentino and Mussolini: Masculinity of the Divo and the Duce in 1920s America,” University of Pittsburgh, Film Studies Program, Speakers’ Series. April 14, 2009

3. “Race in American Cinema, from 1895 to Oscar Micheaux,” New York, University, Tisch School of the Arts, Department of Cinema Studies; March 23, 2009.

4. “You Can Go Home Again: Santa Lucia Luntana (1931), the Film,” Neapolitan Postcards: The Canzone Napoletana as Transnational Subject, Calandra Italian American Institute, New York, March 21, 2009.

5. “Italians, Color, and Race in Early American Cinema,” University of Turin (Italy), 4-hour Graduate Seminar; February 27, 2009.

6. “Divo/Duce: Cinema, Race, and Atlantic Celebrities in 1920s America,” International Conference: Intorno a Rodolfo Valentino: Cinema, Culture, Società, tra Italia e USA negli AnniVenti, University of Turin (Italy), February 24-26, 2009.

7. “Divo/Duce: Italian Masculinities in 1920s America,” Radcliffe Institute for Advanced Studies (Harvard University), April 23, 2008; and Columbia Film Seminar, Columbia University, February 14 2008.

8. “Early Italian Cinema: an Overview,” NYU/Casa Italiana, New York, September 24, 2007.

9. “Note su razza e whiteness nel cinema italoamericano,” Pesaro Film Conference (Italy), June 28, 2007.

10. “Italian Cinema Under Fascism: Historiographical Blindspots,” From Resistance to Consensus to Negotiation: Changing Interpretations of Italian Fascism, University of Michigan, April 27-28, 2007.

11. “Mussolini’s Modern Masculinity,” The Cult of the Duce: Mussolini and the Italians, 1918-2005, Royal Holloway, University of London (UK), March 23-24, 2007.

12. “The Atlantic Divo: Valentino in Italy,” Italian American Cinema Conference, Calandra Institute, New York, April 6, 2006.

13. “The Atlantic Divo: Valentino in Italy,” Love of Country: Making Nations at Home and Abroad in Italy’s Many Diaspora, Pittsburgh, April 8-9, 2005.

14. “Black Hands and White Hearts. Italian Immigrants’ Racial Dissonance in Early 20th Century American Cinema,” Department of Romance Languages and Literatures, University of Michigan, October 30, 2003 and Knight-Wallace Journalism Fellows, University of Michigan, November 4, 2003.

15. “Storia, cultura e linguaggio italiani fuori d’Italia: il caso di due film italo-americani da poco restaurati” in “Narrare la storia: dal  documento al racconto” Fondazione Bellonci Conference, Mantua (Italy), November 22-24, 2002.

16. Introduction to Umberto D and La Strada, Pierpont Commons Arts and Programs, University of Michigan, November 5th and 12th, 2002.

17. “Italian Film Culture,” Summer Italian Studies class, Department of Romance Languages, University of Michigan, May 30, 2002, July 31, 2003, May 10, 2005, May 15 2006.

18. “Screening Italians,” Italian American Culture Meeting/Dante Alighieri Society, Troy (MI), February 20, 2002.

19. “Women of Horror: Dario Argento's Murder Mysteries,” lecture held at Bowdoin College, Brunswick, ME, April 16, 2001.

20. Introduction to Emir Kusturica’s When Father Was Away on Business (1985), Special Series at the Film Society of Lincoln Center, New York, April 12, 2001.

21. “Images of Italian Americans in Film,” Center for Italian Studies, SUNY- Stony Brook, February 13, 2001.

22. “Italians in Early American Cinema,” invited talk delivered on the occasion of the exhibition The Italians of New York. Five Centuries of Struggle and Achievement, New York Historical Society/John D. Calandra Italian American Institute Queens College/CUNY, New York – November 15, 1999.

23. “Il 'popolare' fra immagine e parola. Note sparse su neorealismo, Gramsci e le belle bugie di Zavattini,” ZAVATTINIA 1998: Diviso in Due: Cesare Zavattini: Cinema e
Cultura Popolare, Luzzara (Reggio Emilia, Italy), December 12, 1998.

24. “Italy's Immigrants at the Movies in New York, 1906-1916,” Casa Italiana, NYU, October 20, 1998.

25. “Shipwrecked Spectators: Italians as Moviegoers in New York in the Silent Era,”
Immigration History Research Center, University of Minnesota, St. Paul (MN), August 19,
1998.

26. “Mute Visuality: Notes Around D'Annunzio and the Eloquent Bodies of Italian
‘Hysterical' Cinema,” Humanities Institute, University of California at Davis, June 2,
1998.

Conference Presentations

1. “Primitive Nobilities: Nobleza Gaucha (Gaucho Nobility, 1915) and Argentina’s Modern National Landscapes,”  Presenter and Panel Chair (“Modernity’s Other Landscapes: Early Cinema and Race in Latin America”), Society for Cinema & Media Studies Conference, Josai International University, Tokyo (Japan), May 21-24, 2009. [Cancelled by SCMS on May 14th, 2009]

2. “National (and Racial) Landscapes and the Photographic Form,” Society for Cinema and Media Studies Conference (SCMS) Chicago, March 9, 2007 (panelist and panel co-Chair); and IX International Domitor Conference, University of Michigan, May 29th – June 2nd, 2006 (panelist and conference organizer).

3. “Vernacular Realism and Southernist Film Poetics in Sperduti nel buio (1914),” Second Annual Robert Dombroski Italian Conference, Storrs, CT, September 17, 2005.

4. "Primitive Geography and Picturesque Typcasting: Sicilian Performer Mimi Aguglia in New York City at the Turn of the 20th Century," Mediterranean Studies Conference, University of Messina (Sicily), May 28, 2005.

5. “Which Viewer? What Effects….? Imperialism, Migration, and Race,” in Modernity and Early Cinema: A Symposium (Organizer, Panelist, and Discussant), University of Michigan, April 16, 2005.

6. “The Atlantic Divo: Valentino in Italy,” SCMS Conference, London (UK), April 2, 2005. “Martin Scorsese: A Case Study in the Possibilities of Studying Italian American Cinema”, Chair and Respondent, SCMS Conference, London (UK), April 3, 2005.

7. “Race, Migrations, and the Modernity of Early American Cinema” Society for Cinema Studies Conference,panel: “Early American Cinema, Racial Diversity, and Migrations,’ (Chair) Minneapolis, March 6-9, 2003.

8. “Duce/Divo: New York Italians in the 1920s,” at “Sex in the City: Immigrants and Urban Cultural Politics in New York, 1886-1930,” Urban History Association Conference, Pittsburgh, September 26-28, 2002.

9. “Geopolitical Censorship in Early Italian Cinema: State Ideology, National Culture, and Southernist Realism Around Sperduti nel Buio (1914),” at Culture, Censorship, and the State in 20th Century Italy Conference, Italian Cultural Institute/Institute of  Romance Studies -- University of London, October 25-26, 2002, London (UK).

10. “Divo/Duce: Masculinity and Heroism Among Italians in 1920s America,” at Fascism, Gender, and Sexuality,”UC Berkeley, October 25-27, 2001.

11. “Poetics and Geography: Vernacular Realism and Southern Aesthetics in Sperduti nel buio (1914) and Assunta Spina (1915),” American Association of Italian Studies Conference, University of Pennsylvania, Philadelphia, 19-22 April 2001.

12. “Ethnic Self-Fashioning at the Cafè-Chantant: Italian Immigrants at the Movies in New York, 1906-1916,” Public Space, Private Lives: Race, Class, Gender, and Citizenship in New York, 1890-1929, Padua (Italy), April 26-28, 2000.

13. “Italian Immigrants at the Photoplay in New York City before WWI” Conference on New York State History, Fordham University, Bronx, New York; June 15-17, 2000.

14. “The Tain of the Mirror: Gramsci, Italian Talkies, and La questione della lingua,” Symposium at Darmouth on Italian Cultural Studies, Darmouth College, October 29-31, 1999.

15. Co-Chair (with Kim Tomadjoglou) of the panel “Silent Italian Cinema, 1905-1930,” Society for Cinema Studies Conference, West Palm Beach, Florida, April 17, 1999.

16. “Colonial Autism: Antiquity, Maciste and Family Melodrama in 1930s Italian Cinema,” panel on “Italian Colonial Culture,” MLA Conference (San Francisco), December 27, 1998. 

17. “Italian Imageries, Historical Feature Films, and the Fabrication of Italy's Spectators in Early 1900s New York,” 1998 Commonwealth Fund Conference in American History, “Hollywood and Its Spectators: The Reception of American Films, 1895-1995,” University College, London (UK), February 12, 1998.

18. “Gabriele D'Annunzio and the Eloquent Bodies of Italian “Hysterical' Cinema,”
Society for Cinema Studies Conference, Ottawa (Canada), May 16, 1997.

19. “Italian Decadent Cinema of the 1910s,” Writing Italia Conference, Columbia University, New York, April 5, 1997.

20. “Decadent Cinema: D’Annunzio in Silent Italian Cinema,” 17th Annual American Association of Italian Studies Conference, Winston-Salem, N.C., February 20-23, 1997.

21. “Mute Visuality: Expressivity in Italian Cinema of the 1910s: The Case of the Divas,” Rutgers University Italian Film Conference, October 18, 1996.

22. “Documenting Italian Immigrants in Manhattan (1906-1915),” AQEC Conference: A Hundred Years Later, Association Québécoise des études cinématographiques, Montreal, Québéc, November 19, 1995.

23. “Historiography at the Silent Photoplay: The Case of Italian Immigrants before WWI,” Ohio University Film Conference, Athens, Ohio, November 2, 1995.

24. “(Early) Film History and Its Visible Documents: Italian Immigrants in Manhattan
(1906-1915),” Society for Cinema Studies Conference, New York, March 1995.

25. “Ethnic Unconscious in the Film Experience of the New York Italian Community,
1907-1915,” 25th Convention of the Northeast Modern Language Association, Pittsburgh, April 8, 1994.

Teaching

 University of Michigan (Society of Fellows: 2001-2004; SAC and RLL: 2004-2009)
World Cinema; Italian Cinema; Italian-American Cinema; Film History 1895-1927; New Italian Media; Silent Cinema and Race (graduate seminar); Introduction to Screen Arts (graduate seminar)

University of California, Davis (Winter and Spring quarters, 1998) Italian Cinema; Italian-American Cinema.

New York University (Fall 1996; Fall 1998) Cinema and Fascism; Silent Cinema

School of Visual Arts (New York) (1998-2001) History of Cinema I; History of Cinema II; Eastern European Cinemas 

Recent courses taught at the University of Michigan

Graduate Courses:

SAC 600 Introduction to Screen Studies

SAC 601 Screen Historiography: Race in Silent American Cinema

Undergraduate courses

SAC 351 Silent Film History

SAC 366/ITA359 Italian American Cinema

ITA 468 New Italian Media

SAC 441/ITA315 Italian Cinema