Abstract
:Bob Giraldi's Dinner Rush (2000) is a film that addresses a variety of social issues reflective of the Italian American experience. Although little academic attention has been afforded this film, it truly speaks to an Italian American audience on a critical scale. Even though some critics may consider it part of the gangster genre, this article examines the film through both film and foodways theories. This contribution will analyze the use of food as it functions as collateral, as character, and as aphrodisiac. Through these three lenses, foodways demonstrates a politics of representation, one which breaks away from the stereotypical Italian American mafia film.
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