Still Banned After All These Years- Retracing the Journey of Cavani’s ‘Revolutionary’ Galileo (1968)

The Tragedy of the Knight of Faith
Sticchi, Francesco and Angeli, Silvia 2024. The Tragedy of the Knight of Faith. Film and Philosophy. 28, pp. 91-110. https://doi.org/10.5840/filmphil202382124

Confirmations That Were Not Meant to Be: Religion, Violence and the Female Body in Un poison violent (2010), Corpo celeste (2011), and Kreuzweg (2014)
Angeli, S. and Quaranta, C. 2023. Confirmations That Were Not Meant to Be: Religion, Violence and the Female Body in Un poison violent (2010), Corpo celeste (2011), and Kreuzweg (2014). Studies in European Cinema. 20 (1), pp. 20-35. https://doi.org/10.1080/17411548.2021.1921931

The Ultimate Freedom? Suicide as ‘Exit Strategy’ in Marco Bellocchio’s Il regista di matrimoni (2006) and Sorelle Mai (2010)
Angeli, S. 2022. The Ultimate Freedom? Suicide as ‘Exit Strategy’ in Marco Bellocchio’s Il regista di matrimoni (2006) and Sorelle Mai (2010). The Italianist. 42 (2), pp. 229-245. https://doi.org/10.1080/02614340.2021.2010020

Apocalyptic films have lulled us into a false sense of security about climate change
Angeli, S. 2021. Apocalyptic films have lulled us into a false sense of security about climate change. The Conversation.

‘A polyphonic tale’: Arendt, Cavarero and storytelling in Sarah Polley’s Stories We Tell (2012)
Angeli, S. 2021. ‘A polyphonic tale’: Arendt, Cavarero and storytelling in Sarah Polley’s Stories We Tell (2012). Empedocles: European Journal for the Philosophy of Communication. 12 (1), pp. 75-89. https://doi.org/10.1386/ejpc_00029_1

Olmi and Pasolini: Industrialisation, the underdog and ‘ecological eschatology’ in Manon finestra 2 (1956) and Grigio (1957)
Angeli, S. 2021. Olmi and Pasolini: Industrialisation, the underdog and ‘ecological eschatology’ in Manon finestra 2 (1956) and Grigio (1957). Forum Italicum: A Journal of Italian Studies. 55 (3), pp. 850-864. https://doi.org/10.1177/00145858211025486

A Miraculous Materialism: Lines of Flight in We Have a Pope and Corpo Celeste
Angeli, S. 2021. A Miraculous Materialism: Lines of Flight in We Have a Pope and Corpo Celeste. Film-Philosophy. 25 (1), pp. 1-17. https://doi.org/10.3366/film.2021.0154

Lina Wertmüller Symposium: A report, 13 December 2019, University of Westminster
Angeli, S. 2020. Lina Wertmüller Symposium: A report, 13 December 2019, University of Westminster. Journal of Italian Cinema & Media Studies. 8 (3), pp. 419-423. https://doi.org/10.1386/jicms_00033_7

From the margins: Alice Rohrwacher’s liminal adolescents
Angeli, S. 2020. From the margins: Alice Rohrwacher’s liminal adolescents. Journal of Italian Cinema & Media Studies. 8 (3), pp. 339-356. https://doi.org/10.1386/jicms_00026_1

Caught in between: Profanation and Re-Sacralization in Marco Bellocchio’s Nel nome del padre (1971)
Angeli, S. 2018. Caught in between: Profanation and Re-Sacralization in Marco Bellocchio’s Nel nome del padre (1971). Religions. 9 (9) 252. https://doi.org/10.3390/rel9090252

"Lars von Trier’s Women, edited by Rex Butler and David Denny.”
Angeli, S. 2017. "Lars von Trier’s Women, edited by Rex Butler and David Denny.”. Alphaville: Journal of Film and Screen Media. 13, pp. 162-167. https://doi.org/10.33178/alpha.13.10

An unfinished mourning: Kenneth Lonergan’s Manchester by the Sea (2016)
Angeli, S. 2017. An unfinished mourning: Kenneth Lonergan’s Manchester by the Sea (2016). New Cinemas: Journal of Contemporary Film. 15 (2), pp. 141-155. https://doi.org/10.1386/ncin.15.2.141_1

Catholicism in Italian cinema in the age of ‘the new secularisation’ (1958-1978)
Angeli, S. 2017. Catholicism in Italian cinema in the age of ‘the new secularisation’ (1958-1978). PhD thesis University of Westminster

Etty Hillesum. Le pratiche di scrittura come trasformazione
Angeli, S. 2010. Etty Hillesum. Le pratiche di scrittura come trasformazione. Rome Edizioni Universitarie Romane.