Dana Renga

Dana Renga

Dana Renga

Chair and Professor of Italian & Co-Director, The Film Studies Program

renga.1@osu.edu

(614) 292-4938

200H Hagerty Hall
1775 College Rd.
Columbus, OH
43210

Google Map

Office Hours

Autumn 2020 (virtual via Zoom):
Tuesday & Thursday, 3:15 pm - 4:15 pm and By Appointment

Areas of Expertise

  • Italian cinema and television
  • Mafia studies
  • Film theory, trauma theory, feminist & gender studies

Education

  • Ph.D., UCLA, 2001

Chair and Professor of Italian & Co-Director, The Film Studies Program

Dana researches and teaches on Italian television and cinema. She is affiliate faculty in The Film Studies Program, The Department of Comparative Studies, and The Department of Women’s, Gender, and Sexuality Studies. She teaches courses on Italian film and television at both the undergraduate and graduate level and regularly teaches General Education courses in English, one on Italian Cinema and Television (IT2053) and another on Mafia Movies (IT2055). 

In addition to two monographs, one co-authored book, and an edited volume, she has published over forty articles and book chapters on Italian cinema and television, Italian popular culture, and modern and contemporary Italian poetry and literature.

File

 

SELECT RECENT PUBLICATIONS

BOOKS

Watching Sympathetic Perpetrators on Italian Television: Gomorrah and Beyond (New York: Palgrave Macmillan, 2019).

Internal Exile in Fascist Italy: History and Representations of Confino (co-authored with Piero Garofalo and Elizabeth Leake; Manchester: The University of Manchester Press, 2019).

Unfinished Business: Screening the Italian Mafia in the New Millennium (Toronto, Buffalo, London: The University of Toronto Press, 2013).

EDITED VOLUME

Mafia Movies: A Reader, 2nd edition (Toronto, Buffalo, London: University of Toronto Press, 2019)


ARTICLES AND BOOK CHAPTERS

‘Teaching Italian Film and Television and Videographic Criticism,’ The Italianist 39.2 (2020). (Co-Authored with Alan O’Leary) DOI: 10.1080/02614340.2020.1790276

'Le conseguenze dell’amore: il noir a sfondo mafioso,’ L’avventura. Italian Film and Media Studies Journal 6.1 (2020) 141-154. 

‘Casting My Brilliant Friend’s Authentic Stardom,’ SERIES: International Journal of TV Serial Narratives 6.1 (2020) 77-90.

‘Italian Women’s Cinema and the Wounded Filmic Body.’ In Italian Cinema from the Silent Screen to the Digital Image, edited by Joseph Luzzi. London and New York: Bloomsbury, 2020, 141-160.

‘Suburra. La serie as “Patrimonio internazionale / International Patrimony,”’ SERIES: International Journal of TV Serial Narratives 4.1 (2018) 63-80.

‘La prospettiva degli antieroi: Spazi di contraddizione nel cinema di Stefano Sollima,’ Flash Art 321 (2018): 52-57.

‘Screening Confino: Male Melodrama, Trauma, Exile Cinema,’ Journal of Italian Cinema and Media Studies 5.1 (2017): 23-46.

‘Remediating the Banda della Magliana: Debating Sympathetic Perpetrators in the Digital Age,’ in The Italian Mafia, New Media, and the Culture of Legality, edited by Robin Pickering-Iazzi (Toronto, Buffalo, London: University of Toronto Press, 2017), 137-161.

‘Michele Placido’s Romanzo Criminale as Male Melodrama: “It is in reality always too late.”’ In Nuovo cinema politico. Public Life, Imaginary and Identity in Contemporary Italian Cinema, edited by Giancarlo Lombardi and Christian Uva (Oxford: Peter Lang, Italian Modernities Series, 2016), 373-86.

‘A New Canon? Contemporary Italian Cinema and Television and the Role of Quality in the Anglophone Curriculum,’ Comumicazioni sociali 3 (2016): 375-97. (Co-authored with Danielle Hipkins)

‘Gomorra: la serie: Beyond Realism,’ The Italianist 36.2 (2016): 287-92.

‘1.9: Coming of Age in the Camorra (Gomorra: la serie, “Gelsomina Verde”, Claudio Cupellini)’ The Italianist 36.2 (2016): 333-8.

‘Making Men in Gomorra la serie,’ L’avventura. Italian Film and Media Studies Journal 1.1 (2015): 105-20.

‘Introduction: Italian Screen Studies, Present and Future,’ The Italianist 34.2 (2014): 235-7.

‘Italian Popular Screen Studies in the Anglophone Context, 2008-2013,’ The Italianist 34.2 (2014): 242-9.

‘Gendering la mafia ne Il giorno della civetta di Damiano Damiani.’ In Damiano Damiani, edited by Christian Uva (Roma: Bulzoni Editore, 2014), 55-67.

‘The Teen Film and the Female Auteur.’ In New Visions of the Child in Italian Cinema, edited by Danielle Hipkins and Roger Pitt (Oxford: Peter Lang Italian Modernities Series, 2014), 307-29.

‘Modern Mob Movies: Twenty Years of Gangsters on the Italian Screen.’ In The Italian Cinema Book, edited by Peter Bondanella (London: Palgrave MacMillan and the British Film Institute, 2014), 238-45.

‘Introduction: The Banda della Magliana, The Camorra, The ’Ndrangheta and the Sacra Corona Unita: The Mafia Onscreen Beyond the Cosa Nostra,’ The Italianist 33.2 (2013): 190-9.

‘Oedipal Conflicts in Marco Tullio Giordano’s The Hundred Steps,’ Annali d’italianistica: Contemporary Italian Cinema 30 (2012): 197-212.

‘Screening the Italian Mafia: Bystanders, Perpetrators and Pentite,’ Journal of Italian Cinema and Media Studies 1.1 (2012): 55-69.

‘Moro Martyred, Braghetti Betrayed: History Retold in Buongiorno, notte.’ In Terrorism, Italian Style: Representations of Political Violence in Contemporary Italian Cinema, edited by Ruth Glynn, Giancarlo Lombardi and Alan O’Leary (London: IGRS Books, 2012), 175-91.

‘Introduction: The Corleone’s at Home and Abroad.’ In Mafia Movies: A Reader, edited by Dana Renga (Toronto, Buffalo and London: University of Toronto Press, 2011), 3-31.

‘Pastapocalypse! End Times in Italian Trash Cinema,’ The Italianist 31.2 (2011): 243-57.

‘Pier Paolo Pasolini and the Memory of Martyrdom in New Italian Cinema,’ Italica 85.2-3 (2008): 197-209.


iTUNES U COURSE

'New Research Trends in Italian Screen Studies.’ Includes Video Conferencing Sessions with ten scholars in the US and the UK. September 2015, (co-authored with Dan Paul).


ENCYCLOPEDIA AND SHORT ENTRIES

‘The Sopranos: Antiheroic Masculinity.’ In Mafia Movies: A Reader, 2nd edition, edited by Dana Renga, Toronto, Buffalo, London: University of Toronto Press, 2020.

‘The Godfather: Gender.’ In Mafia Movies: A Reader, 2nd edition, edited by Dana Renga, Toronto, Buffalo, London: University of Toronto Press, 2020.

‘Ciao America.’ In World Film Locations: Florence, edited by Alberto Zambenedetti, Bristol and Chicago: Intellect Books, 2014, 104-5.

‘Up at the Villa.’ In World Film Locations: Florence, edited by Alberto Zambenedetti, Bristol and Chicago: Intellect Books, 2014, 96-7.

‘Mario Puzo.’ In Popular Contemporary Writers, edited by Michael D. Sharp. New York: Marshall Cavendish, 200), 1137-50.

‘Italo Calvino.’ In Great World Writers: Twentieth Century, edited by Patrick M. O'Neil. New York: Marshall Cavendish, 2004, 149-58.

PODCASTS/INTERVIEWS

Why Do Viewers Find TV Mobsters so Attractive? Prof. Dana Renga Has a Theory.” Podcast for Voices of Excellence for Arts and Sciences, OSU, May 2019. 

The Mafia in Pop Culture,’ and ‘The Mafia in the 21st Century.’ Podcast with The Daily Beat, January, 2018. 

‘Science and Technology in Gabriele Salvatores’ Nirvana.’ Screened at ‘Science and Science Fiction in Italian Cinema: A Retrospective,’ The Italian Cultural Institute, Cairo, Egypt. Oct.-Nov., 2009

 

Pronoun preference

She/her/hers