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Table Of Contents

Acknowledgments
Introduction
Part I. Looking Back
Chapter 1. National Identity by Means of Montage in Roberto Rossellini's Paisan
Chapter 2. Luchino Visconti's Bellissima: The Diva, the Mirror, and the Screen
Part II. Italy by Displacement
Chapter 3. Bernardo Bertolucci's The Last Emperor : Powerless in Peking
Chapter 4. Mediterraneo and the "Minimal Utopias" of Gabriele Salvatores
Chapter 5. From Salazar's Lisbon to Mussolini's Rome by Way of France in Roberto Faenza's Pereira Declares
Part III. Family as Political Allegory
Chapter 6. Francesco Rosi's Three Brothers: After the Diaspora
Chapter 7. The Alternative Family of Ricky Tognazzi's La scorta
Chapter 8. The Gaze of Innocence: Lost and Found in Gianni Amelio's Stolen Children
Part IV. Postmodernism; or, the Death of Cinema?
Chapter 9. Ginger and Fred: Fellini after Fellini
Chapter 10. Giuseppe Tornatore's Cinema Paradiso and the Art of Nostalgia
Chapter 11. From Conscience to Hyperconsciousness in Maurizio Nichetti's The Icicle Thief
Chapter 12. Postmodern Pastiche, the Sceneggiata, and the View of the Mafia from Below in Roberta Torre's To Die for Tano
Part V. The Return of the Referent
Chapter 13. Filming the Text of Witness: Francesco Rosi's The Truce
Chapter 14. The Seriousness of Humor in Roberto Benigni's Life is Beautiful
Chapter 15. Caro diaro and the Cinematic Body of Nanni Moretti
Appendix: Plot Summaries and Credits
Notes
Bibliography
Videography
Index