Fabrizio Cilento is an Associate Professor of Film and Digital Media in Central PA. He is the author of An Investigative Cinema: Politics and Modernization in Italian, French, and American Film (Palgrave Macmillan, 2018). His essays have appeared in numerous journals and edited collections, and explore the intersection between politics, recent history, and the aesthetics of moving images.He has presented original scholarship at more than 30 national and international professional conferences.
MAJOR FIELDS OF SCHOLARLY OR PROFESSIONAL INTEREST
An Investigative Cinema: Politics and Modernization in Italian, French, and American Film. New York: Palgrave Macmillan, 2018.
“Shifting the Present: Francesco Rosi’s Salvatore Giuliano.”Chronica Mundi 11.1 (2016), Special Issue on “Bandits and Banditism.” Ed. Sara Delmedico.
“The Aesthetics of the Procedural in Post-9/11 Cinema.” Cinema Journal56.1 (2016). Section “In Focus: Media Studies Fifteen Years after 9/11.” Ed. Anna Froula. University of Texas Press.
“What Julian Smith Hates (and Loves) about Facebook: Social Media Parody as Self-Promotion.” Comedy Studies, 6.2 (2015): 154-166. Special Issue of on “Laughter in the Digital Age.” Ed. Peter C. Kunze. Routledge: Taylor & Francis.
“Pablo Larraín’s Noand the Aesthetics of Television.” Seismopolite: Journal of Art and Politics 10 (2015). Special Issueon “The Politics of Art and Art Scenes in Latin America.” Ed.Paal Andreas Bøe.
“The Missed Encounter with the Actor-Poet: Carmelo Bene and Vittorio Bodini According to Ruggero Jacobbi.” California Italian Studies Journal4 (2014). Special Issue on “Italian Sound.” Eds. Rossella Carbotti, Deanna Shamek and Arielle Saiber.
“The Ontology of Replay: The Zapruder Video and American Conspiracy Films.”Teorija in praksa50 (2013). Special Issue on “JFK Assassination: The Rise and Fall of Camelot.” Ed. Karmen Šterk.
“Even the Rain: A Confluence of Cinematic and Historical Temporalities.” Arizona Journal of Hispanic Cultural Studies16 (2012): 245-258. Special Issue on “Temporalities in Latin American Cinema.” Eds. Ignacio Sanchez Prado and Joanna Page.
“Saviano, Garrone, Gomorrah: Neorealism and Noir in the Land of the Camorra.”Fast Capitalism8.1 (2011). Special Issue on “Global Noir.” Ed. Gray Kochhar-Lindgren.
“The Vision at Last: Samuel Beckett’s Krapp’s Last Tape,Not I, and That Time.” Re: Viste sulla letteratura e le arti 1 (2005): 62-69.Special Issue “Oltre lo zero.” Eds. Tommaso Lisa and Alessandro Raveggi.
“Riccardo III: Demone nell’Inferno della Tragedia.” L’apostrofo 3.2 (2002): 60-88. Eds. Tommaso Lisa and Riccardo Donati.
"Visual Transitions in Ettore Scola’s Comedies” in The Cinema of Ettore Scola. Detroit: Wayne State University Press, 2020, pp. 44-66. in Lanzoni, Rémi and Edward Bowen; eds.
“The Moro Affair in the Movies of Gian Maria Volonté” in The Moro Affair: Memories and Narrations. Massa: Transeuropa, 2016, pp. 163-180. Eds. Ugo Perolino and Leonardo Casalino.
“The Interview as Self-Criticism: On Pasolini’s Metatelevisual and Extracinematographic Performativity” in Pier Paolo Pasolini: American Perspectives. Pesaro: Metauro, 2015. Eds. Federico Pacchioni and Fulvio Orsitto.
“One Hundred Steps: Radio Interference on the Neorealist Heritage” in The Cinema of Marco Tullio Giordana. Rome: Vecchiarelli Editore, 2015, pp. 79-98. Eds. Federica Colleoni and Elena della Torre.
Guest editor of Film Matters Magazine. Based on Actual Events Dossier. Issue 10.3, 2019.Published by Intellect, with the support from University of North Carolina Wilmington.
Guest editor of Film Matters Magazine. Contemporary Science Fiction Dossier II. Issue 9.1, 2018. pp.101-40.
Guest editor of Film Matters Magazine. Contemporary Science Fiction Dossier I. Issue 8.3, 2017. Published by Intellect, with the support from University of North Carolina Wilmington, pp. 29-54.
2011 – Present: Editor-in-chief of the digital collaborative project Cinemablography.