Dana Renga

Dana Renga

Dana Renga

Chair and Associate 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 2019: Tuesday 12:30-1:30 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

Dana Renga researches and teaches on Italian film and television. 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 two General Education courses in English on Italian Cinema and Television (IT2053, each autumn) and Mafia Movies (IT2055, each spring). She is currently chair of the Department of French and Italian at The Ohio State University, and was the Vice President of the American Association for Italian Studies (2016-2019), and co-edited The Italianist film issue (2013-2018) with Catherine O'Rawe and Charles Leavitt.

She has published over thirty articles and book chapters on Italian cinema and television, Italian popular culture, and modern and contemporary Italian poetry and literature.

Pronouns

She/her/hers

 

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, forthcoming September 2019)

ARTICLES AND BOOK CHAPTERS

‘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).