Mafia movies a reader (University of Toronto Press, 2011)
Includes bibliographical references (pages 391-398) and filmography (p. 387-390)
Setting the scene - Introduction - The Corleones at home and abroad - Dana Renga - Gender and Violence - four themes in the everyday world of mafia wives - Peter Schneider and Jane Schneider -- - American mafia movies - the Corleones at home and abroad - Wallace McCutchen's The Black Hand - a different version of a biograph kidnapping - Vincenzo Maggitti - "Most thrilling subjects" - D.W. Griffith and the biograph revenge films - JoAnne Ruvoli - Ethnicity and the classical gangster film - Mervyn LeRoy's Little Caesar and Howard Hawks' Scarface - Norma Bouchard - Playing good Italian - bad Italian in ABC's The untouchables - Jonathan Cavallero - Prelude to The Godfather - Martin Ritt's The brotherhood - Robert Casillo - Micheal Corleone's tie - Francis Ford Coppola's The Godfather - Anthony Tamburri - Nihilism and Mafiositá in Martin Scorsese's Mean streets - Pellegrino D'Acierno
- Thematic patterns in Francis Ford Coppola's The Godfather - part II - John Paul Russo - The sexual politics of loyalty in John Huston's Prizzi's honor - Rebecca Bauman - Between postmodern parody and generic hybridization - the gangsters of Brian De Palma's The untouchables - Norma Bouchard - The bandit, the gangster, and the American Army shorts - Michael Cimino's The Sicilian - Chiara Mazzucchelli - Martin Scorsese's GoodFellas - hybrid storytelling between realism and formalism - Fulvio Orsitto - Redemption in Francis Ford Coppola's The Godfather - part III - John Paul Russo - "Nothing romantic about It" - gender and the legacy of crime in Abel Ferrara's The funeral - Lara Santoro - Inside the mafia - Mike Newell's Donnie Brasco - Robert Casillo - Martin Scorsese's The departed, or the quest for a departed ethnic identity - Margherita Heyer-Caput - When words can kill - David Chase's The sopranos - Franco Ricci
- Don't stop believin', don't stop- (de)structuring expectations in the final season of The sopranos - Giancarlo Lombardi -- - Italian Mafia movies - myth and resistance - Which law is the father's - gender and generic oscillation in Pietro Germi's In the name of the law - Danielle Hipkins - The visible, unexposed - Francesco Rosi's Salvatore Giuliano - Laura Wittman - Modernity, mafia style - Alberto Lattuada's Il mafioso - Nelson Moe - Francesco Rosi's Hands over the city - a contemporary perspective on the Camorra - Anna Paparcone - Prototypes of the mafia - Luchino Visconti's The leopard - Elizabeth Leake - The failure of the intellectual - Elio Petri's filming of Leonardo Sciascia's To each his own - Daniela Bini - Damiano Damiani's The day of the owl - a Western flirtation - Piero Garofalo - Smaller and larger families - Lina Wertmuller's The seduction of Mimi - Thomas Harrison - Deconstructing the enigma
- logical investigations in Francesco Rosi's Lucky Luciano - Gaetana Marrone - Power as such - the idea of the mafia in Franceso Rosi's Illustrious corpses - Alan O'Leary - Marco Risi's Forever Mary - desperate lives converge in Sicilia "non bedda" - George De Stefano - Threads of political violence in Italy's spiderweb - Giorgio Ambrosoli's murder in Michele Placido's A Bourgeois Hero - Carlo Testa - Sacrifice, sacrament, and the body in Ricky Tognazzi's La scorta - Myriam Ruthenburg - Pasquale Scimeca's Placido Rizzotto - a different view of Corleone - Amy Boylan - Marco Tullio Giordana's The hundred steps - the biopic as political cinema - George De Stefano - Roberta Torre's Angela - the mafia and the "woman's film" - Catherine O'Rawe - Organized crime and unfulfilled promises in Gabriele Salvatores' I'm not scared - Michael O'Riley - Growing up Camorrista - Antonio and Andrea Frazzi's Certi bambini - Allison Cooper