Abstract
On the American film studies scene, Italian film theory is not as well-known and as discussed as are, for example, theoretical contributions from France. Due to the lack of timely and systematic translations of Italian theoretical work, and also to the particular circumstances in which film theory is produced in Italy (different disciplinary approaches to film, a long history of cultural fragmentation, and so on), the American film scholar would have a very hard time developing a profile of Italian film theory, unless the profile were restricted to the aesthetic issues articulated in the neorealist debate. Apart from Umberto Eco, truly an international-though all the same very Italian-scholar, and with the exception of Teresa de Lauretis's pioneering presentation of Italian semiotics, what little of Italian film theory does penetrate into America comes filtered through French references and reactions.1 This is the case also for whatever interest has been shown toward Francesco
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