In 2011, Alan O’Leary and Catherine O’Rawe called for a moratorium on the use of the term ‘neorealism’ for at least half a decade and asked, ‘Let us see what such a moratorium might allow us to reveal in its stead, what our silence on realism might allow us to reveal about other modes and genres.’ In their polemical piece, O’Leary and O’Rawe made the provocative claim that ‘all cinema is popular cultural production’ and suggested, ‘we should not neglect the ability of popular film to speak to the national or to contribute to a discourse of national memory.’ As they cogently point out, popular genres such as the commedia all’italiana and the poliziesco engaged with Italian terrorism some years before the so-called cinema impegnato of Francesco Rosi or Elio Petri. At Ohio State, I teach a large enrolment (150–200 student) General Education class on Italian cinema annually, and over the last few years have toyed with the course content, removing films by Scola, Pasolini, and Fellini, to make space for units on genre cinema and contemporary popular films, content that more closely mirrors my own research interests. As my teaching and research move more towards the popular, broadly considered, I have found, in line with O’Leary and O’Rawe’s position, that popular cinema is the centrepiece of the Italian cinematic tradition and quite aptly ‘elaborates a national experience’ and fascinates my students. Taking into consideration O’Leary and O’Rawe’s call, together with my own developing teaching and research interests, I endeavoured to see what Italian screen studies has looked like in the Anglophone context over the last five years and I was particularly interested in gauging the extent to which ‘popular’ genres and topics are taught in the classroom and are the subject of recent scholarship. I began by pooling information from seventy-six scholars at universities and liberal arts colleges working in Australia, Canada, Ireland, New Zealand, the United Kingdom, and the United States who primarily teach and/or publish on Italian cinema and television. I asked them to share with me any details of the content of courses on Italian film and television that they have offered since 2008 (including the level and delivery language) and also to provide me with information regarding any forthcoming books or edited volumes primarily on Italian cinema and television not yet available in searchable databases. I was particularly interested to discover whether Italian screen studies is witnessing a move in the direction towards the popular both in teaching and research. I was also curious to discover whether we could identify a shift away from courses and monographs and volumes The Italianist, 34. 2, 242–249, June 2014