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The fifth and final section of this book, “Cinematic Echoes,” contains three contributions whose common feature is a shift from words on the page to images on the big screen, from Greece to the United States. To this end, Caroline Eades (University of Maryland) and Françoise Létoublon (Université Grenoble Alpes) develop the work of Milman Parry and Albert B. Lord on Homer and the Serbo-Croatian oral tradition to situate the oeuvre of filmmaker Theo Angelopoulos within the lineage of Greek and Balkan oral poetry. Such an approach—diachronic (from Homer to the present), geographic (from Greece to the Balkans), and interdisciplinary (at the intersection of literature, cinema, and anthropology)—aims to demonstrate that this tradition is not disappearing, since it finds in Angelopoulos’s films an updating and reactivation that make it a deliberate means for expressing and disseminating myths today.

This is the first edited collection to critically address in its entirety questions related to the displaying of Chinese contemporary art. It includes chapters by scholars and cultural workers from diverse backgrounds involved in the interpretation of artistic as well as curatorial discourses and practices. Each of those chapters gives a detailed account of a particular, socio-culturally informed, approach to the making and showing of Chinese art - including in relation to queer identities, transculturality, the use of social media, artivism, social engagement, institutional critique, and neo-Confucian aesthetics. Together they present a vital intervention with established curatorship amidst the intensely interconnected and increasingly multi-polar cultural conditionalities of early 21st-century contemporaneity.

The Celluloid Atlantic changes the way we look at American and Italian cinema in the postwar period. In the thirty years following World War II, American and Italian film industries came to be an integrated, transnational unit rather than two separate, nation-based entities. Written in jargon-free prose and based on previously unexplored archival sources, this book revisits the history of Neorealism, World War II combat cinema, the "Western all'Italiana," and the career of John Kitzmiller, the African American star who made Italy his home and was the first person of color to win the Best Actor Award at the Cannes Film Festival.  Giovacchini argues that the waning of the Celluloid Atlantic in the early 1970s was due to the economic policies of the first Nixon administration, specifically its important, but largely neglected, Revenue Act of 1971, as well as to the ideological debates between Europeans and Americans that intensified during the American intervention in Vietnam.