Many Manifestations of Francis Ford Coppola's the Godfather Series

Ryan Calabretta-Sajder is the Professor Antonio Marinoni and Rosa Zagnoni Marinoni Endowed Chair and Associate Professor of Italian and Director of International and Global Studies at the University of Arkansas. Alan J. Gravano is Assistant Professor and Writing Center Director at Rocky Mountain University of Health Professions.

• AcknowledgmentsIntroduction: Encoding Sicily: Fandom, Italianità, and the Afterlife of Coppola's Godfather, by Ryan Calabretta-Sajder and Alan J. GravanoPart I: Returning to the Source: Sicilian Space, Language, and Cultural Reception1. Framing Sicily in The Godfather Saga, by Fulvio Orsitto2. "The Godfather Returns Home": Controversy, Reactions, and Debates on The Godfather Trilogy in Sicilian Daily News, by Claudio Staiti3. "Fabrizzio, traduci per me.": The Use of Italian and Sicilian Language in Francis Ford Coppola's The Godfather, by Daniele FiorettiPart II: Behind the Corleones: Industry, Identity, and the Craft4. The Agent: Candida Donadio, Mario Puzo, and the Business of Creating The Godfather on Page and Screen, by Jeffrey Severs5. "More Greek than Italian": Dean Tavoularis, Production Design, and The Godfather Trilogy, by Gill Jamieson6. "It Don't Mean Nothing Anyway": Performance, Italianità, and the Construction of Italian American Identity in The Godfather Series, by Alan J. GravanoPart III: Sounds, Symbols, Spaces, and Sustenance: The Construction of Italianità7. Music for the Newlyweds: Opera in Francis Ford Coppola's The Godfather (1972), by Irene Lottini8. The Lacanian nom/non-du-père and Gender in The Godfather Films: A Greimacian Tragedy, by Jan Marta9. Blood-Red Spaghetti Sauce: Food in The Godfather Saga, by Gloria Pastorino10. Feasts, Faith, and Finality: Foodways and the Politics of Redemption in The Godfather Part II and Part III, by Ryan Calabretta-SajderConclusion: The Godfather's Enduring Shadow, by Ryan Calabretta-Sajder and Alan J. GravanoIndex

"This volume reveals how valuable The Godfather—including Puzo's novel, Coppola's three film trilogy, Coppola's Coda, and other ancillary texts—is. . . . As the editors acknowledge, there is a wealth of material on The Godfather, and yet I still found many of the essays to offer novel approaches to the text."—Jonathan J. Cavallero, author of Hollywood's Italian American Filmmakers: Capra, Scorsese, Savoca, Coppola, and Tarantino