Table of Contents

Introduction: Gender, Trauma and Recent Italian Mafia Cinema

Chapter 1: Oedipal Conflicts in Marco Tullio Giordana’s I cento passi

Chapter 2: Honor, Shame and Vendetta: Pasquale Scimeca’s Placido Rizzotto

Chapter 3: Mafia Woman in a Man’s World: Roberta Torre’s Angela

Chapter 4: The Mafia Noir: Paolo Sorrentino’s Le conseguenze dell’amore

Chapter 5: Men of Honor, Man of Glass: Stefano Incerti’s L’uomo di vetro

Chapter 6: The Female Mob Boss: Edoardo Winspeare’s Galantuomini

Chapter 7: Melancholia and the Mob Weepie: Davide Barletti and Lorenzo Conte’s Fine pena mai: paradiso perduto

Chapter 8: Mourning Disavowed: Matteo Garrone’s Gomorra

Chapter 9: Recasting Rita Atria in Marco Amenta’s La siciliana ribelle

Chapter 10: Trauma Postponed: Claudio Cupellini’s Una vita tranquilla

Epilogue: Why Must Caesar Die?

Works Cited

Promotional Information

"Renga has already firmly established herself as a leading expert on Italian Mafia film narratives and documentaries with the foundational Mafia Movies: A Reader. Her latest, Unfinished Business is an innovative, expertly conceived and executed study that will surely generate new debates in various fields of study." -- Robin Pickering-Iazzi, Professor, Department of French, Italian, and Comparative Literature, University of Wisconsin, Milwaukee "Written in a lively and engaging tone, this provocative and highly original work makes an important contribution to Italian film studies." -- Aine O'Healy, Department of Humanities, Loyola Marymount University

About the Author

Dana Renga is an associate professor of Italian at The Ohio State University. She is the author of Unfinished Business: Screening the Italian Mafia in the New Millennium (2013) and Watching Sympathetic Perpetrators on Italian Television: Gomorrah and Beyond (2019) and has published extensively on Italian cinema and television.

Reviews

‘Unfinished Business is a thorough, well-researched, and well-executed study… Renga’s insightful and scrupulous analyses will surely generate plenty of new debates in Mafia studies, as well as in film, cultural studies and number of other disciplines.’
*Journal of Modern Italian Studies , February 2015*

‘There’s no doubt that Renga’s volume is essential reading for scholars of both Mafia films and Italian cinema more widely.’
*University of Toronto Quarterly vol 84:03:2015*

‘Renga’s film choices are spot-on, and offer a wide variety of Mafia themed films from the new millennium... It is refreshing to find a scholar so conscious of film, gender, and gender theory.
*Italica vol 92:04:2015*