Table of Contents

Acknowledgments

Introduction: Transatlantic Racial Culture and Modern Visual Reproductions
Part 1. Picturing Italy's Natural and Social Landscapes
1. Picturesque Mode of Difference
2. The Picturesque Italian South as Transnational Commodity
Part 2. Picture-Perfect America
3. Picturesque Views and American Natural Landscapes
4. Picturesque New York
5. Black Hands, White Faces
6. White Hearts
7. Performing Geography
Afterword: "A Mirror with a Memory"

Notes
Filmography
Bibliography
Index

Promotional Information

The origins of American cinema's fascination with Italy

About the Author

Giorgio Bertellini is Assistant Professor of Screen Arts and Cultures and of Romance Languages and Literatures at the University of Michigan. He is author of Emir Kusturica. His edited and co-edited volumes include The Cinema of Italy and (with Richard Abel and Rob King) Early Cinema and the "National."

Reviews

"Bertellini's persuasive thesis that identity-formation works, among other things, through the picturesque, provides a further explanation for our persistent need for a local aura of realist "authenticity" in our idea of what Italian cinema should give us." Robert Gordon writing for the Times Literary Supplement