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School of Modern Languages and Cultures

Luca Peretti

British Academy Postdoctoral Fellow

Email: Luca dot Peretti at warwick dot ac dot uk

My current research project investigates cultural exchanges between Italy and the Third World at the peak of the anticolonial era (late 1950s-early 1970s). It focuses on cinema alongside other cultural forms and media practices, such as photography, exhibitions, television. I am also completing my previous - and related - project (which was awarded a WIRL-COFUND Fellowship) on collaborative works between Italians and Algerians, including Gillo Pontecorvo’s The Battle of Algiers (1966). Previously I co-edited a volume on terrorism and cinema (in Italian, Postmedia books) and one on Pier Pasolini Pasolini (Bloomsbury Academics). My work has appeared in, among others, Senses of Cinema, The Italianist: Film Issue, Journal of Italian Cinema and Media Studies, Historical Materialism, Comunicazioni Sociali, Quest. Issues in Contemporary Jewish History. I am the managing editor of the journals Zapruder World and Cinema e Storia, in the editorial board of L’Avventura and Storiografia, and in the editorial staff of the cultural blog il lavoro culturale and the media outlet DinamoPress. I wrote and coproduced the film Mister Wonderland (dir. Valerio Ciriaci, 2019). I collaborate with newspapers and magazines.

Research interests

  • Italian cinema and media
  • Postcolonial cinema
  • Transnational cultural practices
  • Italian cultural and intellectual history
  • Industrial and sponsored cinema
  • Cinema and history
  • Mediterranean studies
  • Jewish Italian Culture

Publications

Volumes

  • Un dio nero un diavolo bianco. Storia di un film non fatto tra Algeria, ENI, Solinas e Sartre, forthcoming in 2022
  • Algeria, internazionalismo e cinema italiano, Annale AAMOD 22, Rome, Effigi edizioni, forthcoming in 2022 (co-edited with Letizia Cortini and Paola Scarnati)
  • Pier Paolo Pasolini, Framed and Unframed: A Thinker for the Twenty-First Century, London and New York, Bloomsbury Publishing, 2018 (co-edited with Karen T. Raizen),
  • Immagini di piombo. Cinema, storia e terrorismi in Europa, Milan, Postmediabooks, 2014 (edited with Vanessa Roghi)

 

Edited issues

  • “Media-Enterprise Discourses and Practices of Cinema and the Media in Corporate Culture”, Cinema e Storia. Rivista di studi interdisciplinari, 1/2022 (forthcoming, with Diego Cavallotti, Simone Dotto, and Jennifer Malvezzi)
  • “Cinema and Social Conflicts”, Zapruder WorldLink opens in a new window: An International Journal for the History of Social Conflict, Volume 6 (2020) (co-edited with Daniel Fairfax and André Keiji Kunigami)
  • Dossier “The Legacy of Pier Paolo Pasolini”, Senses of CinemaLink opens in a new window, Issue 77, December 2015 (co-edited with Daniel Fairfax)

 

Journal articles

  • “Build to Last? Material Legacies of Italian Colonialism. A roundtable”, Interventions: International journal of postcolonial studies, special issue on Postcolonial Italy, edited by Sebastian Depretto and Markus Wurzer (forthcoming in 2022)
  • “Italian screen studies alla conferenza annuale dell’American Association for Italian Studies (AAIS)”, La Valle dell’Eden. Semestrale di cinema e audiovisivi, special issue on “Italian Cinema and Media Studies Beyond Italy”, n. 37/2020, edited by Luca Barra, Giulia Carluccio, Giacomo Manzoli and Giulia Muggeo (forthcoming in 2022)*
  • Non-Theatrical Circulation Circuits of Italian Films in the American Midwest”, L’avventura. International Journal of Italian Film and Media, (forthcoming in spring 2021, with Damiano Garofalo)*
  • “Timira, romanzo meticcio e stratificato”, Forum ItalicumLink opens in a new window, Volume 55, issue 1, 2021 (with Michela Bertossa, Lawrence Gianangeli, and, Enrico Zammarchi)*
  • “«Ciak, azione!». Alcune note su cinema e conflitto”, Zapruder. Rivista di storia della conflittualità sociale, 52 (2020), pp. 168-175
  • “Between auteurism and sponsored cinema: Joris Ivens, Bernardo Bertolucci and ENI’, Journal of Italian Cinema & Media Studies, 7:2 (2019), pp. 199–215*
  • “Unfinished projects, unmade films, unfilmed objects: the difficult relationship between cinema and the Italian anni di piombo”, in The Italianist: Film Issue, 38:2 (2018), 189-203*
  • “Gramsci, no longer a communist”, in Historical MaterialismLink opens in a new window 25.3 (2017), pp. 191-209 (Review Article)*
  • “Before The Battle of Algiers: Sartre, Colonialism, Industrial Cinema, and an Unmade Film”, in Senses of CinemaLink opens in a new window Issue 84, September 2017 (online, 5987 words)*
  • "Parodie sul web. Gli effetti di GOMORRA LA SERIE sulla gente”, in Arabeschi. Rivista di studi su letteratura e visualità., n. 9/2017, online
  • “The diplomatic promotion of Italian cinema in English-speaking countries”, in Comunicazioni Sociali 2016 – 3. Italian Quality Cinema: institutions, legitimation, taste, edited by Claudio Bisoni, Danielle Hipkins, and Paolo Noto, pp. 398-411 (with Paolo Noto)*
  • “La nostra fratellanza nel dolore. The Jewish Community of Rome and the ‘other’ genocides” in QuestLink opens in a new window. Issues in Contemporary Jewish History. Journal of Fondazione CDEC, special issue on multidiretional memories, edited by Robert Gordon and Emilano Perra (2016, online, 9063 words)*
  • “Occasioni mancate, il cinema italiano e gli anni di piombo” in Jean Gili (ed.), Storie del Bel Paese. L'Italia attraverso il cinema dal Risorgimento ad oggi (1861-2011), “Quaderni del CSCI» 2011/7, Barcelona, 2011, pp. 130-133
  • “Paolo Benvenuti e Segreti di stato: un incontro tra cinema e storia”, in Storiografia, rivista annuale di storiografia, Fabrizio Serra Editore, 13, 2010, pp. 171-204

(* peer reviewed)

 

Book Chapters

  • “’There exists no life more daring and adventuresome than that of an oil drigger’. ENI’s geologists-filmmakers in Iran”, in Films that work, edited by Vinzenz Hediger, Yvonne Zimmermann, and Florian Hoof, Amsterdam University Press (forthcoming in 2022, 5657 words)*
  • “I confini negli USA: evoluzioni, emergenze e margini”, in Sui confini d’Europa. Storie di frontiere e di resistenze, edited by Gabriele Proglio, Il Manifesto libri (forthcoming in 2022, 4552 words)
  • “Portella della Ginestra e il cinema, film fatti e non fatti”, in Portella della Ginestra, edited by Tommaso Baris Istituto Poligrafico Europeo (forthcoming in 2022, 11200 words)
  • “Italians the world over. The glorification of Italian labor abroad”, in Italian Industrial Literature and Film: Perspectives on the Representation of Postwar Labor, edited by Carlo Baghetti, Jim Carter, and Lorenzo Marmo, Peter Lang Press, 2021, pp. 449-458
  • “Propaganda Live, la TV come comunità intermedia”, in Luca Barra and Fabio Guarnaccia (ed.), SuperTele. Come guardare la televisione, Minimum Fax, 2021 pp. 160-172 (with Damiano Garofalo)
  • “Al cinema col PCI. La critica cinematografica sulla stampa non specializzata (1945-1956)”, in Michele Guerra and Sara Martin (ed.), Culture del film. Il cinema e il pensiero critico italiano, Il Mulino, 2020, pp. 197-217 (with Marco Zilioli)
  • “Mafia, Mobility, and Capitalism in Italy circa 1960” in Companion to the Gangster Film, edited by George S. Larke-Walsh, Hoboken [NJ], Wiley Blackwell, 2018, pp. 244-261*
  • “Compromessi e difficoltà. Note a proposito di alcuni film non fatti sugli anni di piombo”, in Luca Peretti e Vanessa Roghi (ed.), Immagini di piombo. Cinema, storia e terrorismi in Europa, Milan, Postmediabooks, 2014, pp. 75-84
  • “Caratteri dell'antigiudaismo a Roma nei primi dell'Ottocento in due film italiani: Il Marchese del Grillo (1981) e Nell'anno del signore”, in Giuseppe Capriotti (ed.), Antigiudiasmo, antisemitismo e memoria. Un approccio pluridisciplinare, Macerata, Eum (University of Macerata Press), 2009, pp. 93-126

Qualifications

PhD, MPhil and MA, Yale University, Film and Media Studies Program - Department of Italian (2011-2018)

MA, University College of London, Film Studies (2008-2009)

BA, La Sapienza (Rome), Modern History (2004-2008)

Office hours

If you would like to see me please email for an appointment. I will normally respond within 24 hours.