The 2014 annual AAIS Conference, organized by the American Association for Italian Studies, took place over three days from 26–28 May 2014 at the University of Zurich, in Switzerland, for the first time in a location situated outside North America or Italy. Partially because of this geographical collocation, the conference drew an exceptional number of participants: over seven hundred members convened from more than twenty-four countries, which makes this conference, according to AAIS president Carol Lazzaro-Weis, the ‘largest . . . in the history of the organization’. In this report, I will briefly present and discuss the panels and papers on cinema and television presented in Zurich; I will highlight the general trends that emerged in the three-day conference and explore specific topics that seem to be of particular interest in the field of Italian screen studies. The Zurich conference saw, at least quantitatively, a positive influx of different approaches anddisciplines, suchasphotography, politics, gender (inpart due to thework of theQueer caucus), postcolonial issues,Marxism,andcritical theory, tonamebuta few. This surely reflects the on-going evolution ofAnglo-American-Australian Italian Studies, but it is possibly also due to the presence of scholars who work in European universities who were able to attend the conference en masse. The keynote speaker, Rosi Braidotti, exemplifies this trend: an Italian-Australian scholar who has lived in different countries and is now based in the Netherlands, Braidotti works mainly on social and political theory, cultural politics, gender, feminist theory, and ethnicity studies, from a standpoint of continentalphilosophy.Her lecture, ‘PosthumanistParadoxes’,was followedbya long and warm round of applause, together with a standing ovation. In general, it could be said that the evaluation of the situation of Italian screen studies that emerge from Zurich is mixed: on the one hand, many of these panels had a great turnout, and a number of members came to the conference to discuss these topics. As a result, a stable but ever-evolving community of scholars from different countries has its recurrent appointment at theAAIS conferences andmuchacademic research is generated from these encounters. But, on the other hand, it is fair to say that cinema and television (let alone Internet, videogames, etc.) are still far from being fully considered a matter of serious academic research and inquiry in the large community of Italian studies. The interaction of Italian history and politicswith cinema andmediawas surely one of the main trends discussed at the conference. We can single out a few of panels and