Â鶹ӰԺ

Pierluigi’s research is grounded in film history, audience and reception studies, transnational cinema and the diaspora and his work focuses, in particular, on cinema-going in Italy and Britain, Anglo-Italian film culture and the distribution and reception Italian films in the UK.

His publications include, among others, the edited volume Diviso in Due: Cesare Zavattini, Cinema e Culture Popolare (2002), the articles “Screening Fascism in the Free State”, Historical Journal of Film, Radio and Television (Philip M. Taylor Routledge-IAMHIST Prize for best article, 2014); “The Greatest Film of the Fascist Era”, Alphaville: Journal of Film and Screen Media (2013, special issue on “Reframing Cinema Histories” co-edited with Gwenda Young).

His work is also included in the edited collections Italian Silent Cinema: A Reader (2013) edited by G. Bertellini; Cinema, Audiences and Modernity: New Perspectives on European Cinema History (2011) edited by D. Biltereyst, R. Maltby and P. Meers.

Cinema and Television History Research Centre (CATH)

Mapping Cinema Memories: Emotional Geographies of Cinema-going in Rome in the1950s. Co-authored with Daniela Treveri-Gennari and Catherine O’Rawe. Memory Studies, January 2017.

Cinema Heritage in Europe: preserving and sharing culture by engaging with film exhibition and audiences. Co-authored with Daniela Treveri-Gennari. Alphaville: Journal of Film and Screen Media. Issue 11, Summer 2016, pp. 1-12 (http://www.alphavillejournal.com/Issue11/Editorial.pdf)

Screening Fascism in the Free State: Italian Propaganda Films and Diplomacy in Ireland 1934-1940’ Historical Journal of Film, Radio and Television, 2014, Vol.34, No.4, 493-510. (Philip M. Taylor Routledge-IAMHIST Prize for best article, 2014)

‘“Pictures from Italy”: Italian Silent Films in Britain, 1907-1915’, in G. Bertellini ed., Italian Silent Cinema: A Reader (London: John Libbey Publishing, 2013). pp. 295-304.

“The Greatest Film of the Fascist Era”: The Distribution of Camicia Nera in Britain, Alphaville: Journal of Film and Screen Media 6, (Winter 2013). Web. ISSN: 2009-4078. (http://www.alphavillejournal.com/Issue6/HTML/ArticleErcole.html)

‘Little Italy On the Brink’: The Italian Diaspora and the Distribution of War Films in London 1914-1918, in R. Maltby, D. Biltereyst, P. Meers, eds., Cinema, Audiences and Modernity: New Perspectives on European Cinema History (London, New York: Routledge, 2011). pp. 154-165.

Film History, Audiences and Reception, Anglo-Italian Film Culture, Silent Cinema, World Cinema

Film history, World Cinema, Film Data

BA Philosophy (Catholic University, Milan, Italy)

MA Film Studies (University of East Anglia, UK)

PhD (University of East Anglia, UK)

Introduction to Global Film History; World Cinema, Concepts and Debates; Film Data

Philip M. Taylor Routledge-IAMHIST Prize for best article by a New Scholar 2014 awarded to my article ‘Screening Fascism in the Free State: Italian Propaganda Films and Diplomacy in Ireland 1934-1940’ Historical Journal of Film, Radio and Television, 2014, Vol.34, No.4, 493-510;

Postdoctoral Fellow Award, Irish Research Council for Humanities and Social Sciences (IRCHSS), 2011-2013

New Ideas Scheme, Irish Research Council for Humanities and Social Sciences (IRCHSS), 2011-2012.

Member of the editorial board of Alphaville: Journal of Film and Screen Media (2011-to present)

HoMER, History of Moviegoing Exhibition and Reception. 2005 to date. DICIS, Scientific Research Network On Digital Cinema Studies, 2014 to date.

European Cinema Audiences: Entangled Histories and Shared Memories, Arts and Humanities Research Council (AHRC), 2018-2021, Co-Investigator.

Matthew Carter, MRes, 1st Supervisor – British Imperialism and Hong Kong Cinema

European Cinema Audiences: Entangled Histories and Shared Memories, Arts and Humanities Research Council (AHRC), 2018-2021, Co-Investigator.

Mapping European Cinema: A Comparative Project on Cinema-going Experiences in the 1950s; British Academy/Leverhulme Small Research Grants - SRG 2015-16 Round, 2016-2017; Co-Investigator.