Monographs and Edited Books
2021. The Film Music of John Williams. Reviving Hollywood’s Classical Style, revised and updated edition of John Williams’s Film Music (2014). Madison, WI: University of Wisconsin Press, 385 pp.
2019, (editor, with Emile Wennekes). Cinema Changes: Incorporations of Jazz in the Film Soundtrack. Turnhout: Brepols, 345 pp.
2018, (editor). John Williams. Music for Films, Television, and the Concert Stage. Turnhout: Brepols, 464 pp.
2017. Film/Music Analysis. A Film Studies Approach. Basingstoke: Palgrave MacMillan, 255 pp.
2014. John Williams’s Film Music. ‘Jaws,’ ‘Star Wars,’ ‘Raiders of the Lost Ark,’ and the Return of the Classical Hollywood Music Style. Madison, WI: University of Wisconsin Press, 346 pp.
2010. L’infanzia nel cinema di Steven Spielberg [Childhood in Steven Spielberg’s Cinema]. Imperia, Italy: Ennepilibri, 90 pp. (Italian).
Journal Articles, Book Chapters, Encyclopedia Entries
2020. ‘“The Shark Is not Working” – but the Music Is. Scoring a Hit with Jaws.’ In The Jaws Book: New Perspectives on the Classic Summer Blockbuster, edited by Ian Hunter and Matthew Melia. New York: Bloomsbury.
2020. ‘A Matter of Form, Style, and Monsters. A Comparative Analysis of Reazione a catena and Friday the 13th.’ L’avventura. International Journal of Italian Cinema and Media Landscapes 6/1 (January-June): 3-22. https://www.rivisteweb.it/doi/10.17397/97432
2020. ‘The Function of Mickey-Mousing. A Re-assessment’. In Sound & Image: Audiovisual Aesthetics and Practices, edited by Andrew Knight-Hill, 145-160. New York: Routledge.
2019. ‘“Behold the Newest Technological Sensation! With Music!”. The Use of Music in the Silent Cinema’. In Music and the Second Industrial Revolution, edited by Massimiliano Sala, 429-447. Turnhout: Brepols.
2019. ‘The Multiform Identity of Jazz in Hollywood.’ In Cinema Changes: Incorporations of Jazz in the Film Soundtrack, edited by Emile Wennekes and Emilio Audissino, 85-97. Turnhout: Brepols.
2019, (with Emile Wennekes). ‘Prologue. A Reel Jazz Survey.’ In Cinema Changes: Incorporations of Jazz in the Film Soundtrack, edited by Emile Wennekes and Emilio Audissino, ix-xxvi. Turnhout: Brepols.
2019. ‘The Final Girls (2015) as a Video Essay: A Metalinguistic Play with Genre and Gender Conventions.’ In Gender and Contemporary Horror in Film, edited by Samantha Holland, Steven Gerrard, Robert Shail, 219-235. Bingley: Emerald Publishing.
2018. ‘Rediscovering a Film; Revisiting a Film; Damaging a Film. A Musical Comparison of Three DVD Editions of Nosferatu.’ In Music and Sound in Silent Cinema. From the Nickelodeon to The Artist, edited by Ruth Barton and Simon Trezise, 174-186. New York/Oxon: Routledge.
2018. ‘“Commutation Tricks” and “Forced Marriages”. The Manipulation of the Soundtrack as a Tool for Film/Music Analysis.’ In Cinergie 13 (July): 37-46. https://doi.org/10.6092/issn.2280-9481/7876
2018, (with Frank Lehman). ‘John Williams and Film Music on the Concert Stage. An Interview with Maestro Keith Lockhart.’ In John Williams. Music for Films, Television, and the Concert Stage, edited by Emilio Audissino, 397-408. Turnhout: Brepols.
2018. ‘Introduction. John Williams, Composer.’ In John Williams. Music for Films, Television, and the Concert Stage, edited by Emilio Audissino, ix-xxiv. Turnhout: Brepols.
2017. ‘A Gestalt Approach to the Analysis of Music in Films.’ Musicology Research 2 ‘Music on Screen. From Cinema Screens to Touchscreens’ (Spring): 69-88. http://www.musicologyresearch.co.uk/publications/emilioaudissino-agestaltapproachtotheanalysisofmusicinfilm
2017. ‘John Williams and Contemporary Film Music.’ In Contemporary Film Music. Investigating Cinema Narratives and Composition, edited by Lindsay Coleman and Joakim Tillman, 221-236. Basingstoke: Palgrave MacMillan.
2016. ‘Gottfried Huppertz’s Metropolis. The Acme of “Cinema Music.”’ In Today’s Sounds for Yesterday’s Films. Making Music for Silent Cinema, edited by K. J. Donnelly and Ann-Kristin Wallengren, 45-63. Basingstoke: Palgrave MacMillan.
2016. ‘Archival Research and the Study of the Concert Presentations of Film Music. The Case of John Williams and the Boston Pops Orchestra.’ The Journal of Film Music 6 (2 ): 147-173, http://dx.doi.org/10.1558/jfm.v6i2.30701.
2015. ‘Due note di credibilita’. John Williams e Lo squalo‘ [Two Notes of Credibility. John Williams and Jaws]. Cinergie 7 (March): 36-44 (Italian). https://doi.org/10.6092/issn.2280-9481/6968
2014. ‘Bicycles, Airplanes and Peter Pans: Flying Scenes in Steven Spielberg’s Films.’ CINEJ Cinema Journal 3 (2): 103-119. http://dx.doi.org/10.5195/cinej.2014.111
2014. ‘Film Music and Multimedia: An Immersive Experience and a Throwback to the Past’. In Jahrbuch Immersiver Medien 2014: Sounds, Music & Soundscapes, edited by Patrick Rupert-Kruse, 46-56. Marburg: Schüren Verlag.
2014. ‘Overruling a Romantic Prejudice. Forms and Formats of Film Music in Concert Programs.’ In Film in Concert, Film Scores and their Relation to Classical Concert Music, edited by Sebastian Stoppe, 25-43. Glücksstadt: VWH Verlag.
2014. ‘Golden Age 2.0: John Williams and the Revival of the Symphonic Film Score.’ In Film in Concert, Film Scores and their Relation to Classical Concert Music, edited by Sebastian Stoppe, 109-123. Glücksstadt: VWH Verlag.
2014. ‘Dubbing as a Formal Interference. Reflections and Examples.’ In Media and Translation: An Interdisciplinary Approach, edited by Dror Abend-David, 97-118. New York: Bloomsbury Academic.
2013. ‘Hollywood Film Music and Ethnic Diversity.’ In Multicultural America. A Multimedia Encyclopedia, edited by Carlos E. Cortés, 1101-1103. Thousand Oaks, CA: SAGE.
2013. ‘Motion Pictures.’ In Multicultural America. A Multimedia Encyclopedia, edited by Carlos E. Cortés, 1492-1496. Thousand Oaks, CA: SAGE.
2013. ‘The Aesthetic Cost of Marketing. The Economical Motivation of Pop Songs in Films.’ In Pratiques et esthétiques. Le coût et la gratuité. Tome 3, edited by Catherine Naugrette, 41-46. Paris, France: L’Harmattan.
2012. ‘Italian Doppiaggio. Dubbing in Italy: Some Notes and (In)famous examples.’ Italian Americana 30 (1): 22-32.
2012. ‘John Williams, The Boston Pops Orchestra and Film Music in Concert.’ In Cinema, critique des images, edited by Claudia D’Alonzo, Ken Slock, and Philippe Dubois, 230-35. Udine, Italy: Campanotto.
2011. ‘John Williams, Star Wars and the Canonization of Hollywood Film Music.’ In Il Canone Cinematografico/The Film Canon, edited by Pietro Bianchi, Giulio Bursi, and Simone Venturini, 273-78. Udine, Italy: Forum.
Reviews and Short Articles
2020. ‘It’s ‘Shirley’ Something to Remember: Airplane! 40 Years Later.’ JewTh!ink, online, 4 November, https://www.jewthink.org/2020/11/04/its-shirley-something-to-remember-airplane-40-years-later/.
2020. ‘Ennio Morricone: A Versatile Composer with a Distinct Sound.’ The Conversation, online, 7 July, https://theconversation.com/ennio-morricone-a-versatile-composer-with-a-distinct-sound-142190.
2018. ‘Earl Wild and American Popular Music.’ Booklet essay for Earl Wild. The Complete Transcriptions and Original Piano Works. Volume 3, CD, Giovanni Doria Miglietta, pianist. London: Piano Classics, 2018.
2018. ‘Review of Angela Ida De Benedictis’s La musica alla radio 1924-1954. Storia, effetti, contesti in prospettiva europea.’ Journal of Italian Cinema and Media Studies 6 (3): 432-33.
2018. ‘Innovation and Tensions: Italian Cinema and Media in a Global World, First International Conference, Journal of Italian Cinema and Media Studies.’ Journal of Italian Cinema and Media Studies 6 (1): 123-27.
2018. ‘John Williams e Star Wars. “Torniamo all’antico e sarà un progresso”’ [John Williams and Star Wars]. Musica 297, June 2018, 46-51.
2015. ‘Largo ai grandi vecchi. Il ritorno di Ennio Morricone e John Williams. [Make Way to the Elderly Greats. The Return of John Williams and Ennio Morricone].’ Artintime, December, 26-27, (Italian). http://issuu.com/artintime/docs/dicembre_def_def_def
2014. ‘How One Man Changed the Landscape of Film Music.’ The Conversation, online, http://theconversation.com/how-one-man-changed-the-landscape-of-film-music-29191.
2012. ‘Italians and the Oscars.’ Italian Americana, Spring Web Issue, http://www.academia.edu/3826441/Italians_and_the_Oscars.
2011. ”’Se l’avventura ha un nome, questo dev’essere John Williams.” Le musiche di Tintin. [“If Adventure has a name, it must be John Williams.” Tintin‘s Music].’ Filmcritica, December, 518-526 (Italian).
2011. ‘Il terrore viene dagli abissi. John Williams e la musica de Lo Squalo. [Dread from the Abyss. John Williams and the Jaws Score].’ Almanacco Horror Magazine, Summer, 116-119 (Italian).
2011. ‘A Tribute to Nino Rota.’ Italian Americana, Spring Web Issue, https://www.academia.edu/4786572/A_Tribute_to_Nino_Rota.
2011. ‘Bernard Herrmann e il suono della paura. [Bernard Herrmann and the Sound of Fear].’ Almanacco Horror Magazine, Spring, 116-119 (Italian).
2010. ‘Metropolis, una storia infinita. [Metropolis, a Never-ending Story].’ Filmcronache, October/December, 44-53 (Italian).
2010. ‘La lunga stagione dei vampiri. [Vampires’ Long Season].’ Filmcronache, January/March, 38-45 (Italian).
Conference Papers and Talks
2020, invited talk. ‘Salvaging a Film and Reviving the Tradition. The Historic Role of John Williams’s Jaws Score.’ Music Seminar Series at Dublin City University, School of Theology, Philosophy, and Music, Faculty of Humanities and Social Sciences, 3 November.
2020, conference paper. ‘Felici risultati di accidentate collaborazioni: Argento, Gaslini e Goblin in Profondo Rosso (1975)’ [Felicitous Outcomes of Troublesome Collaborations: Argento, Gaslini, and Goblin in Profondo Rosso]. Conference ‘Scoring Italian Cinema: Patterns of Artistic Collaboration. Comporre per il cinema: forme di collaborazione artistica’, Fondazione Levi, Venice, Italy, 30 March. Postponed and held on Zoom (21 September) due to Covid Emergency.
2020, invited talk. ‘Teaching Cinema, Music, and Film Music with Star Wars.’ Professional Teaching Institute, City University of London, 2 March.
2019, conference paper. ‘2 Broke Girls: Flattening Kat Dennings into Max Black. Screenwriting and Character Complexity in the Sitcom Format.’ Writing for Screens Symposium, University of Portsmouth, UK, 14 June 2019, https://www.port.ac.uk/research/writing-for-screens-symposium; https://youtu.be/0Wg70u1DJAk
2019, keynote talk. ‘Sound-logos, Olympics, Presidents, and Other Celebrations. When John Williams Scores for the Mass Media.’ 11th Conference of the Music and Media Group of the International Musicological Society, ‘Sounds of Mass Media: Music in Journalism and Propaganda’, Linnaeus University, Växjö, Sweden, 8 June 2019
2019, conference paper. ‘The “Spatial Perceptive Function” of Film Music: When Music Tells You What and Where to Look.’ Conference ‘Mapping Spaces, Sounding Places. Geographies of Sound in Audiovisual Media’, University of Pavia, Cremona, Italy, 19 March 2019, https://geographiesofsound2019.wordpress.com/program/
2018, invited talk. ‘The Importance of John Williams.’ Centre for International Film Research, Film Department, University of Southampton, Southampton, UK, 29 October.
2018, invited talk. ‘The Importance of John Williams.’ Utrecht Colloquia in the Musicologies 2018/2019, Utrecht University, Utrecht, NL, 17 October. https://www.uu.nl/en/events/utrecht-colloquia-in-the-musicologies-2018-2019
2018, conference paper. ‘Episodes and Real Rob: Celebrities at Their Worst.’ 4th International Celebrity Studies Conference ‘Desecrating Celebrities’, Rome, Italy, 28 June 2018, https://celebritystudiesconference.files.wordpress.com/2018/06/book-of-abstracts-celebrity-ver-1.pdf
2018, conference paper. ‘The Agency of Music in Audiovisual Artefacts. A Gestalt-based Approach.’ 10th Conference of the International Musicological Society, Study Group ‘Music and Media’, University of Salamanca, Spain, 14 June 2018, https://studygroupmam.com/
2017, conference paper. ‘Zucker-Abrahams-Zucker: New Hollywood’s “Zany Godards.”’ The American New Wave: A Retrospective, conference at the Bangor University, UK, 4 July 2017, http://americannewwave.bangor.ac.uk/
2017, conference paper. ‘Bringing The Nanny to the Italian Audience. Dubbing as Adaptation and Assimilation.’ Journal for Italian Cinema and Media Studies conference, American University of Rome, Italy, 10 June 2017.
2017, keynote talk. ‘Jazz, Hollywood Cinema, and John Williams.’ When Jazz Meets Cinema conference, Lovere, Italy, 6 May 2017.
2016, conference paper. ‘Film Music in Concert. The Case of the Boston Pops Orchestra.’ Society for American Music 42nd annual conference, Boston, Massachusetts, U.S.A., 10 March 2016.
2015, conference paper. ‘Archival Research and the Study of the Concert Presentations of Film Music.’ Audio-Visual Archives conference, the British Library, 18 July 2015.
2015, conference paper. ‘The “Ancrage” Effect of Film on Music in Film-Music Concert Pieces.’ Listening Cinematically conference, Royal Holloway, University of London, 25 June 2015.
2014, conference paper. ‘When the Score Tells More: Music and Connotations in Raiders of the Lost Ark’, 20th SERCIA Conference ‘Movies and Music: National and Transnational Approaches’. Radboud University, Nijmegen, Netherlands, 18 September 2014.
2014, conference paper. ‘Building an Emotive Framework: The Macro-Emotive Function of Film Music’, conference ‘Music for Audio-Visual Media’, University of Leeds, Leeds, U.K., 5 September 2014.
2014, conference paper. ‘Creative Energy without Creative Industry: Mario Bava’, NECS (European Network for Cinema and Media Studies) conference, Università Cattolica del Sacro Cuore, Milan, Italy, 21 June 2014.
2014, conference paper. ‘Orchestrating a Prejudice: European Misunderstanding of the Use of Orchestrators in Hollywood’, MaMI (Music and the Moving Image) conference, New York University, Steinhardt School of Music, New York, U.S.A., 31 May 2014.
2014, conference paper. ‘Film Dubbing as Adaptation and (Forced?) Assimilation’, ‘The Humanities 7th Annual Postgraduate Conference’, University of Southampton, Southampton, U.K, 31 March 2014.
2013, conference paper. ‘Il cinema è la morte al lavoro [Cinema Is Death at Work]’, international conference ‘Immagini della morte’ [Images of Death], University of Pisa, Italy, 19 April 2013 (Italian).
2013, lecture. ‘Musica per film. Proposta per un’analisi stilistica e formale [Film Music. A proposal for a Stylistic and Formalist Analysis]’, study day ‘Il cinema e le arti [Cinema and the Arts], University of Pisa, Italy, 8 March 2013.
2011, conference paper. ‘Émigrés and Hollywood Film Music: The Cases of Max Steiner’s Casablanca and Erich Wolfgang Korngold’s The Adventures of Robin Hood’, 12th International Conference ‘Da Ulisse a… In viaggio verso le terre felici.’ [From Ulysses To… Journeys to the Lands of Happiness], University of Genoa, Imperia, Italy, 8 October 2011.
2011, lecture. ‘Émigrés and the Political Connotations of Hollywood Music: Two Case Studies’, doctoral seminar ‘Migrazioni e Migranti’ [Migrations and Migrants], University of Pisa, Pisa, Italy, 30 June 2011.
2011, conference paper. ‘Il cinema: arte e mercificazione. Il caso delle colonne sonore ”pop” [Cinema: Art and Commodity. The Case of the ”Pop” Soundtracks]’, international doctoral Summer School ‘Arts and Media 2’ organised by the University Sorbonne Nouvelle – Paris 3 in San Servolo (Venice), 6 June 2011.
2010, conference paper. ‘The Meaning of Flight in Steven Spielberg’s Films’, 11th International Conference ‘Da Ulisse a… Il viaggio aereo tra fantasia e realtà’ [From Ulysses To… Air Travelling between Fantasy and Reality], University of Genoa, Imperia, Italy, 9 October 2010.
2010, conference paper. ‘John Williams, the Boston Pops Orchestra and Film Music in Concert’, 12th International Doctoral Summer School ‘Cinema and Contemporary Art 3,’ Sorbonne Nouvelle-Paris 3, Paris, France, 6 July 2010.
2010, conference paper. ‘John Williams, Star Wars, and the Canonization of Hollywood Film Music’, 17th International Film Studies Conference ‘Film Forum,’ Udine, Italy, 17 March 2010.
2009, conference paper. ‘Il cinema, l’automobile e la morte al lavoro [Cinema, Cars and Death at Work]’, 10th International Conference ‘Da Ulisse a… Il viaggio in auto: mito e attualità’ [From Ulysses To… Car Travelling: Myth and Contemporaneity], University of Genoa, Imperia, Italy, 3 October 2009 (Italian).