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| Acknowledgments | |
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| Setting the Scene | |
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| The Corleones at Home and Abroad | |
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| Gender and Violence: Four Themes in the Everyday World of Mafia Wives | |
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| American Mafia Movies: The Corleones at Home and Abroad | |
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| Wallace McCutchen's The Black Hand: A Different Version of a Biograph Kidnapping | |
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| 'Most Thrilling Subjects': D.W. Griffith and the Biograph Revenge Films | |
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| Ethnicity and the Classical Gangster Film: Mervyn LeRoy's Little Caesar and Howard Hawks' Scarface | |
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| Playing Good Italian/Bad Italian in ABC's The Untouchables | |
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| Prelude to The Godfather: Martin Ritt's The Brotherhood | |
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| Micheal Corleone's Tie: Francis Ford Coppola's The Godfather | |
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| Nihilism and Mafiosit� in Martin Scorsese's Mean Streets | |
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| Thematic Patterns in Francis Ford Coppola's The Godfather: Part II | |
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| The Sexual Politics of Loyalty in John Huston's Prizzi's Honor | |
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| Between Postmodern Parody and Generic Hybridization: The Gangsters of Brian De Palma's The Untouchables | |
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| The Bandit, the Gangster, and the American Army Shorts: Michael Cimino's The Sicilian | |
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| Martin Scorsese's GoodFellas: Hybrid Storytelling between Realism and Formalism | |
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| Redemption in Francis Ford Coppola's The Godfather: Part III | |
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| 'Nothing Romantic about It': Gender and the Legacy of Crime in Abel Ferrara's The Funeral | |
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| Inside the Mafia: Mike Newell's Donnie Brasco | |
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| Martin Scorsese's The Departed, Or the Quest for a Departed Ethnic Identity | |
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| When Words Can Kill: David Chase's The Sopranos | |
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| 'Don't Stop Believin', Don't Stop …': (De)Structuring Expectations in the Final Season of The Sopranos | |
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| Italian Mafia Movies: Myth and Resistance | |
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| Which Law Is the Father's? Gender and Generic Oscillation in Pietro Germi's In the Name of the Law | |
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| The Visible, Unexposed: Francesco Rosi's Salvatore Giuliano | |
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| Modernity, Mafia Style: Alberto Lattuada's Il mafioso | |
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| Francesco Rosi's Hands Over the City: A Contemporary Perspective on the Camorra | |
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| Prototypes of the Mafia: Luchino Visconti's The Leopard | |
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| The Failure of the Intellectual: Elio Petri's Filming of Leonardo Sciascia's To Each His Own | |
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| Damiano Damiani's The Day of the Owl: A Western Flirtation | |
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| Smaller and Larger Families: Lina Wertm�ller's The Seduction of Mimi | |
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| Deconstructing the Enigma: Logical Investigations in Francesco Rosi's Lucky Luciano | |
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| Power as Such: The Idea of the Mafia in Franceso Rosi's Illustrious Corpses | |
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| Marco Risi's Forever Mary: Desperate Lives Converge in Sicilia 'Non Bedda' | |
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| Threads of Political Violence in Italy's Spiderweb: Giorgio Ambrosoli's Murder in Michele Placido's A Bourgeois Hero | |
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| Sacrifice, Sacrament, and the Body in Ricky Tognazzi's La scorta | |
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| Pasquale Scimeca's Placido Rizzotto: A Different View of Corleone | |
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| Marco Tullio Giordana's The Hundred Steps: The Biopic as Political Cinema | |
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| Roberta Torre's Angela: The Mafia and the 'Woman's Film' | |
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| Organized Crime and Unfulfilled Promises in Gabriele Salvatores' I'm Not Scared | |
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| Growing Up Camorrista: Antonio and Andrea Frazzi's Certi bambini | |
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| Lipstick and Chocolate: Paolo Sorrentino's The Consequences of Love | |
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| The In(di)visibility of the Mafia, Polities, and Ethics in Bianchi and Nerazzini's The Mafia Is White | |
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| Marco Turco's Excellent Cadavers: An Italian Tragedy | |
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| Dispatches from Hell: Matteo Garrone's Gomorrah | |
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| Filmography | |
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| Selected Bibliography | |
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| Contributors | |