Feminisms, mirrors: Claude Cahun and Sarah Pucill - a dialogue

Carol White: The Bardot of Battersea
Sprio, Margherita 2020. Carol White: The Bardot of Battersea. in: Petrie, D., Williams, M. and Mayne, L. (ed.) Sixties British Cinema Reconsidered Edinburgh University Press. pp. 47-62

Women in the Frame: Feminist Intimacies on the British Screen
Sprio, Margherita 2020. Women in the Frame: Feminist Intimacies on the British Screen . London, UK Bloomsbury Academic.

Italian Post-War Migration to Britain: Cinema and The Second Generation
Sprio, Margherita 2019. Italian Post-War Migration to Britain: Cinema and The Second Generation. in: Retis, J. and Tsagarousianou, R. (ed.) The Handbook of Diasporas, Media and Culture UK Wiley-Blackwell.

Performing history: girlhood and the apple (Samira Makhmalbaf, 1998)
Sprio, Margherita 2016. Performing history: girlhood and the apple (Samira Makhmalbaf, 1998). in: Handyside, F. and Taylor-Jones, K. (ed.) International Cinema and the Girl: Local Issues, Transnational Contexts Houndmills, Basingstoke Palgrave Macmillan. pp. 165-177

The politics of movie memories in Fowler, N.M. (ed.) Measuring Elvis
Sprio, Margherita 2015. The politics of movie memories in Fowler, N.M. (ed.) Measuring Elvis . The Cob Gallery Ltd.

Feminisms, mirrors: Claude Cahun and Sarah Pucill - a dialogue
Sprio, Margherita 2015. Feminisms, mirrors: Claude Cahun and Sarah Pucill - a dialogue. Moving Image Review and Art Journal. 4 (1), pp. 260-267. https://doi.org/10.1386/miraj.4.1-2.260_5

The politics of movie memories
Sprio Margherita 2015. The politics of movie memories. in: Fowler, N.M. (ed.) Measuring Elvis London The Cob Gallery Ltd.

Contemporary fine art education in Britain
Sprio Margherita 2014. Contemporary fine art education in Britain. in: Academy Now 1 Italy Damiani Press. pp. 14-15

Sombra Dolorosa (Guy Maddin, 2004): a queer archival performance
Sprio Margherita 2013. Sombra Dolorosa (Guy Maddin, 2004): a queer archival performance. in: Borggreen, G. and Gade, R. (ed.) Performing archives/archives of performance Copenhagen Museum Tusculanum Press (University of Copenhagen).

Migrant memories: cultural history, cinema and the Italian post-war diaspora in Britain
Sprio Margherita 2013. Migrant memories: cultural history, cinema and the Italian post-war diaspora in Britain. Oxford Peter Lang.

Love Meetings, Pasolini (1964)
Sprio Margherita 2013. Love Meetings, Pasolini (1964). in: Pigott, M. (ed.) World film locations: Venice Bristol Intellect.

Diaspora in the field of vision
Sprio Margherita 2013. Diaspora in the field of vision. Visual Culture in Britain. 14 (3), pp. 342-355. https://doi.org/10.1080/14714787.2013.832104

Book review: Seeing witness: visuality and the ethics of testimony (Jane Blocker, University Minnesota Press)
Sprio Margherita 2013. Book review: Seeing witness: visuality and the ethics of testimony (Jane Blocker, University Minnesota Press). Performing Ethos. 4 (1), p. 79. https://doi.org/10.1386/peet.4.1.79_5

Texts – Filmmaker Sarah Pucill in conversation with Dr Margherita Sprio
Sprio Margherita 2010. Texts – Filmmaker Sarah Pucill in conversation with Dr Margherita Sprio. Sequence Magazine. 1.

Sarah Pucill: an historical overview of her films (1990-2010). (DVD essay)
Sprio Margherita 2010. Sarah Pucill: an historical overview of her films (1990-2010). (DVD essay). London Lux Productions.

Migrant translations: Matarazzo remembered
Sprio Margherita 2010. Migrant translations: Matarazzo remembered. in: Riccobono, R.M. (ed.) The poetics of the margins: mapping Europe from the interstices Peter Lang. pp. 73-84

Filmic performance: authenticity and the apple
Sprio Margherita 2009. Filmic performance: authenticity and the apple. Wide Screen. 1 (1).

Archival memories: between history and experience
Sprio Margherita 2007. Archival memories: between history and experience. in: Johnson, C. (ed.) Feast: Christy Johnson and 33 confessors AHRC/University of the Creative Arts Publication.

Molteplici culture
Sprio Margherita, Doherty, W., Hirst, D. and Gillick, L. 1992. Molteplici culture.