Off Screen: an introduction
A consideration of American publishing procedures reveals an obvious gap, particularly in the literature on cinema. In the United States over the last few years, a rich intellectual debate has taken place around the question of cinema. Substantive in content and in its historical and theoretical approaches, this debate has had limited contact with the work produced in other countries. Theory has moved within a more or less restricted framework with little space for translation of research work conducted outside an Anglo-American cultural perspective. In fact, the channels of communication have been confined to an interest almost exclusively focused on French theoretical writing, at the expense of a more open, free-flowing circulation of ideas. Little consideration has generally been given to Italian theory, about which little has been published, for example. The impact of what has been made available has been more or less confined to Italian specialists.