This year marks the 50th anniversary of the British cult classic movie The Italian Job. This landmark anniversary presents a unique opportunity to celebrate the film with a coffee table book packed full of images, insights and revelations. Loaded with Sixties swagger, and famed for its endlessly quotable dialogue and one of the most impressive car chases in movie history, The Italian Job is the ultimate celebration of ‘cool Britannia’. From the opening sequence of Rossano Brazzi gliding through the Alps in an orange Lamborghini Miura, to the high-speed getaway across the city of Turin in three Mini Coopers, The Italian Job is a petrolhead's dream. The Self Preservation Society will detail how all these cars, including the Aston Martin DB4 and E-Type Jaguars were found and ultimately where they are today. Over the last 20 years, author Matthew Field he has interviewed all the key people involved in the 1969 production. Through him, their stories are revealed, often for the first time. Based on more than 50 in-depth interviews with the cast and crew, and lavishly illustrated with hundreds of never-before-seen photographs and production documents, this definitive book will explode some myths, include a few revelations and tell the fascinating full story of this perennially popular movie.

THE ITALIAN CINEMA BOOK is an essential guide to the most important historical, aesthetic and cultural aspects of Italian cinema, from 1895 to the present day. With contributions from 39 leading international scholars, the book is structured around six chronologically organised sections: THE SILENT ERA (1895–22) THE BIRTH OF THE TALKIES AND THE FASCIST ERA (1922–45) POSTWAR CINEMATIC CULTURE (1945–59) THE GOLDEN AGE OF ITALIAN CINEMA (1960–80) AN AGE OF CRISIS, TRANSITION AND CONSOLIDATION (1981 TO THE PRESENT) NEW DIRECTIONS IN CRITICAL APPROACHES TO ITALIAN CINEMA Acutely aware of the contemporary 'rethinking' of Italian cinema history, Peter Bondanella has brought together a diverse range of essays which represent the cutting edge of Italian film theory and criticism. This provocative collection will provide the film student, scholar or enthusiast with a comprehensive understanding of the major developments in what might be called twentieth-century Italy's greatest and most original art form.

Discusses renowned masters including Roberto Rossellini and Federico Fellini, as well as directors lesser known outside Italy like Dino Risi and Ettore Scola. The author examines overlooked Italian genre films such as horror movies, comedies, and Westerns, and he also devotes attention to neglected periods like the Fascist era. He illuminates the epic scope of Italian filmmaking, showing it to be a powerful cultural force in Italy and leaving no doubt about its enduring influence abroad. Encompassing the social, political, and technical aspects of the craft, the author recreates the world of Italian cinema.

A History of Italian Cinema, 2nd edition is the much anticipated update from the author of the bestselling Italian Cinema - which has been published in four landmark editions and will celebrate its 35th anniversary in 2018. Building upon decades of research, Peter Bondanella and Federico Pacchioni reorganize the current History in order to keep the book fresh and responsive not only to the actual films being created in Italy in the twenty-first century but also to the rapidly changing priorities of Italian film studies and film scholars. The new edition brings the definitive history of the subject, from the birth of cinema to the present day, up to date with a revised filmography as well as more focused attention on the melodrama, the crime film, and the historical drama. The book is expanded to include a new generation of directors as well as to highlight themes such as gender issues, immigration, and media politics. Accessible, comprehensive, and heavily illustrated throughout, this is an essential purchase for any fan of Italian film.

What is Italian pop culture? This volume provides an answer to this question, offering an insight into some of the most recent and interesting developments in the field of pop culture. The reader will find essays on a variety of topics including literature, theater, music, social media, comics, politics, and even Christmas. Each contribution here places stress on the popular. The main reference points guiding the chapters are, in fact, the pioneering works by Antonio Gramsci and Umberto Eco. The result is, therefore, a portrait of a country where mass participation in cultural events always accompanies some form of reflection on the national identity and other related issues. Historians and sociologists, as well as musicologists and philosophers (in addition to pop culture aficionados), will find the text an engaging and indispensable read.

The four volumes of Film Study include a fresh approach to each of the basic categories in the original edition. Volume one examines the film as film; volume two focuses on the thematic approach to film; volume three draws on the history of film; and volume four contains extensive appendices listing film distributors, sources, and historical information as well as an index of authors, titles, and film personalities.

Contributions by Nathaniel Brennan, Luca Caminati, Silvia Carlorosi, Caroline Eades, Saverio Giovacchini, Paula Halperin, Neepa Majumdar, Mariano Mestman, Hamid Naficy, Sada Niang, Masha Salazkina, Sarah Sarzynski, Robert Sklar, and Vito Zagarrio Intellectual, cultural, and film historians have long considered neorealism the founding block of post-World War II Italian cinema. Neorealism, the traditional story goes, was an Italian film style born in the second postwar period and aimed at recovering the reality of Italy after the sugarcoated moving images of fascism. Lasting from 1945 to the early 1950s, neorealism produced world-renowned masterpieces such as Roberto Rossellini's Roma, città aperta (Rome, Open City, 1945) and Vittorio De Sica's Ladri di biciclette (Bicycle Thieves, 1947). These films won some of the most prestigious film awards of the immediate postwar period and influenced world cinema. This collection brings together distinguished film scholars and cultural historians to complicate this nation-based approach to the history of neorealism. The traditional story notwithstanding, the meaning and the origins of the term are problematic. What does neorealism really mean, and how Italian is it? Italian filmmakers were wary of using the term and Rossellini preferred "realism." Many filmmakers confessed to having greatly borrowed from other cinemas, including French, Soviet, and American. Divided into three sections, Global Neorealism examines the history of this film style from the 1930s to the 1970s using a global and international perspective. The first section examines the origins of neorealism in the international debate about realist esthetics in the 1930s. The second section discusses how this debate about realism was “Italianized” and coalesced into Italian “neorealism” and explores how critics and film distributors participated in coining the term. Finally, the third section looks at neorealism’s success outside of Italy and examines how film cultures in Latin America, Africa, Asia, and the United States adjusted the style to their national and regional situations.

A jubilant celebration of Italy’s outsize impact on culture, from literature to art, music to movies, that “masterfully examines the multitude of reasons why so many people fall in love with Italy and the Italian lifestyle” (Forbes) Can you imagine painting without Leonardo, opera without Verdi, fashion without Armani, food without the signature tastes of pasta, gelato, and pizza? The first universities, first banks, first public libraries? All Italian. New York Times bestselling author Dianne Hales attributes these landmark achievements to la passione italiana, a primal force that stems from an insatiable hunger to discover and create; to love and live with every fiber of one's being. This fierce drive, millennia in the making, blazes to life in the Sistine Chapel, surges through a Puccini aria, deepens a vintage Brunello, and rumbles in a gleaming Ferrari engine. Our ideal tour guide, Hales sweeps readers along on her adventurous quest for the secrets of la passione. She swims in the playgrounds of mythic gods, shadows artisanal makers of chocolate and cheese, joins in Sicily’s Holy Week traditions, celebrates a neighborhood Carnevale in Venice, and explores pagan temples, vineyards, silk mills, movie sets, crafts studios, and fashion salons. She introduces us, through sumptuous prose, to unforgettable Italians, historical and contemporary, all brimming with the greatest of Italian passions—for life itself. A lyrical portrait of a spirit as well as a nation, La Passione appeals to the Italian in all our souls, inspiring us to be as daring as Italy’s gladiators, as eloquent as its poets, as alluring as its beauties, and as irresistible as its lovers. Praise for La Passione “[An] effervescent love letter to all things Italian.”—Newsday “In this sweeping account of la passione italiana from ancient to modern times, Dianne Hales shows once again why she is one the world’s foremost guides to the riches of Italian culture. Every page resonates with the author’s love for Italy and her joy in sharing its remarkable discoveries and exquisite pleasures with her readers.” —Joseph Luzzi, author of My Two Italies and In a Dark Wood “Hales takes us on an enriching and delightful journey, filled with fascinating characters, scintillating sensual details, and an authentic connection to the ever-inspiring Italian heart and soul that has given the world boundless pleasures.” —Susan Van Allen, author of 100 Places in Italy Every Woman Should Go

From such films as La Dolce Vita and Bicycle Thieves to Cinema Paradiso and Dear Diary, Italian cinema has provided striking images of Italy as a nation and a people. In the first comprehensive study of Italian cinema from 1886-1996, Pierre Sorlin explores the changing relationship of Italian cinema and Italian society and asks whether the national cinema really does represent Italian interests and culture.