Costanza Salvi

Education

2019-2024: PhD, Universidad de Zaragoza (Spain), 478-Programa de Doctorado en Estudios Ingleses. Transnational Cinema and Cosmopolitism. 

Sobresaliente, cum Laude (defence date: September 17, 2024)

Title: “Up and Down the Rio Grande: Mapping Out the US-Mexico Border in the Classical Hollywood Western, 1930-1960.”

Supervisors: prof. Celestino Deleyto, Universidad de Zaragoza; prof. Michele Fadda, Alma Mater Studiorum, Università degli Studi di Bologna

Keywords: Hollywood, Classical Western, Transnational exchanges, Spatial Representation, Cultural Geography.

 

July 2015: MA in Cinema, Televisione e Produzione Multimediale (classe 73/S Scienze dello Spettacolo e della Produzione Multimediale), Università degli Studi di Bologna.

110 / 110 cum Laude,
Title: “Simple Stories of the Plain People: il cinema e la cultura americana populista negli anni della Grande Depressione.”

Disciplina: “Cinema e studi culturali.” Supervisors: prof. Michele Fadda; prof. Sara Pesce.

Keywords: Hollywood, History of the U.S., Populism, John Ford, Frank Capra, Will Rogers.

 

July 2005: BA + MA in Discipline dell’Arte, della Musica e dello Spettacolo (Indirizzo: Spettacolo), Università degli Studi di Bologna.

110 / 110 cum Laude,
Title: “La cultura della virtualità reale: tempo e spazio nelle nuove tecnologie.”

Disciplina: “Teoria e tecniche delle comunicazioni di massa.” Supervisors: prof. Pierluigi Capucci; prof. Veronica Innocenti.

Keywords: New Technology, Information Technology, Computer Generated Image, Virtual Reality, Space, Time.

 

Research

 

January 2025-present: Universidad de Zaragoza, Facultad de Filosofía y Letras, Dpto. Filología Inglesa y Alemana.

Proyectos de investigación PID2024-155365NB-I00 PerSpace - Performing Space / Spatializing Performance: The Interface between Actors and Space in 21st-Century Transnational Cinema.

Scientific Coordinators: prof. María del Mar Azcona Montoliu, prof. Celestino Deleyto Alcalá

 

April 2024-March 2025: Università degli Studi di Bergamo, Dipartimento di Lettere, Filosofia, Comunicazione.

Assegno di Ricerca PRIN2022-TRAFFIC Tracing American and Foreign Funds in Italian Cinema (1945-1962): Geografie dei film di interesse americano in Italia.

Scientific Coordinator: prof. Giorgio Avezzù, Università degli Studi di Bergamo.

 

Teaching

 

2024-2025 Teaching Tutor for “Cinema e Studi Culturali”. Second cycle degree programme (LM) in Cinema, Television and Multimedia Production. Dipartimento delle Arti, Università degli Studi di Bologna.

2023-2024 Teaching Tutor for “Cinema e Studi Culturali”. Second cycle degree programme (LM) in Cinema, Television and Multimedia Production. Dipartimento delle Arti, Università degli Studi di Bologna.

2023-2024 Adjunct Professor. “Cinema and Literature” Module 2 (“Noir e Hardboiled School”). First cycle degree programme (L) in Foreign Languages and Literature Primo Ciclo di Studi (L) in Lingue e Letterature Straniere. Dipartimento LILEC (Lingue, Letterature e Culture Moderne), Università degli Studi di Bologna.

 

Peer-reviewed Publication

Salvi, C., “All things change, but Gilbert Roland remains the same” (or not?). Recycling, adaptability, and endurance in age transition”. Mediascapes Journal, La Sapienza, 25:1 (2025).

 

Salvi, C., “Conference Report. Elsewhere from an American Perspective: Foreign Places in American Cinema,” in Transatlantica, American Studies Journal, special issue “Passeurs de la littérature des États-Unis en France (1) / L’héritage de Michel Foucault aux États-Unis,” 2 (2022).

https://journals.openedition.org/transatlantica/19773

 

Salvi, C., “John Ford’s Cavalry Trilogy (1948-1950): Caught Between US-American Imperialism and Irish Republicanism,” in Transnationalism and Imperialism: Endurance of the Global Western Film, edited by David Roche and Hervé Mayer. Bloomington: Indiana University Press, 2022, pp. 51-67.

ISBM 0253060745, 9780253060747

 

Salvi, C., “Dead Men Talking. How Sonic Imagination Works in ‘Our Town’ (1940), ‘Laura’ (1944), and ‘D.O.A.’ (1950),” in Retuning the Screen: Sound Methods and the Aural Dimension of Film and Media History, edited by Maria Ida Bernabei, Simone Dotto, Paolo Villa. Milano: Mimesis, 2022, pp. 109-117.

ISBM: 9788869773310

 

Salvi, C. and Marine Soubeille, “Conference Report. 26^th SERCIA Conference: Cosmopolitan Aspirations in English-Speaking Cinema and Television,” in Miranda, Multidisciplinary peer-reviewed journal on the English-speaking world, special issue “Modernist Exceptions,” 23 (2021).

https://doi.org/10.4000/miranda.41228

 

Salvi, C., “Mending Wall? L’ambigua rappresentazione dei rapporti con il Messico in alcuni film hollywoodiani sul confine,” in Confini. Traiettorie geografiche e simboliche tra cinema, architettura e altre discipline, a cura di Ornella Castiglione. Roma: Aracne, 2020, pp. 125-145.

ISBN 9788825538199

 

Salvi, C., “Champion of the underdog: il cinema populista di Will Rogers,” in Cinema & Storia, Rivista di studi interdisciplinari, special issue “Cinema e Populismo, Modelli e immaginari di una categoria politica,” a cura di Valerio Coladonato e Andrea Sangiovanni. Catanzaro: Rubbettino, 8:1 (2019), pp. 43-57.

ISSN 2281-1729

 

Salvi, C., “Feeling Comes First: Music and Sounds as Entertaining Force in ‘The River,’ ‘The City,’ and ‘One Tenth of Our Nation’,” in InMedia, French Journal of Media Studies, special issue “Documentary and Entertainment,” edited by David Lipson and Zachary Baqué, 7:2 (2019).

https://doi.org/10.4000/inmedia.1622

 

Fadda, M. and Costanza Salvi, “I contain multitudes: Berkeley, Vidor e alcune declinazioni della moltitudine nel cinema hollywoodiano della Grande Depressione,” in Fata Morgana, Cosenza: Pellegrini, 11:32 (2017), pp. 95-111.

ISSN 1970-5786

 

Salvi, C., “Simple Stories of the Plain People: il cinema e la cultura americana populista negli anni della Grande depressione”, in Griselda-on-Line, 16 (2016-2017).

https://doi.org/10.6092/issn.1721-4777/9099

 

Under review:

Salvi, C., “John Ford’s Mexico: ‘The Fugitive’ (1947),” in Elsewhere From an American Perspective: Foreign Places in American Cinema, edited by Julie Assouly and Esther Eboyan. London: Bloomsbury.

 

Salvi, C., “Exploring the Mexican Border in ‘The Furies’ (1950): Character, Space, Ideology” in The Films of Anthony Mann. ReFocus, The American Directors Series, edited by Robert Munro. Edinburgh: Edinburgh UP.

 

Salvi, C., “Temperament at a Terminal: Locating ‘Indiscretion of An American Wife / Stazione Termini’ (1953),” in Immagine. Note di storia del cinema, edited by Enrico Gheller, Costanza Salvi, Cosimo Tassinari.

 

Deleyto, C. and Costanza Salvi, “King of the Bandits: The Cisco Kid, the B-Western, and the Space of the Border,” in Questioning the Margins of English-speaking Films and TV Series, edited by Nicole Cloarec, Céline Murillo, Anne Marie Paquet-Deyris.

 

Edited volumes

Immagine. Note di storia del cinema, special issue “Percorsi di internazionalizzazione dell’industria cinematografica italiana. Reti finanziarie, mediazioni e immaginari (1945-1962) / Pathways for Internationalizing the Italian Film Industry: Financial Networks, Mediation, and Imaginary (1945-1962),” Associazione Italiana per le Ricerche di Storia del Cinema, 31 (November 2025).

Role: Co-editor, with Enrico Gheller and Cosimo Tassinari.

 

 

International conferences and Seminars

• 17-20 July 2025. USC School of Cinematic Arts, Los Angeles, US. “The Hollywood Conference”. Paper: A Map Is a Connection Made Visible: Trajectories of Hollywood Studios in Runaway Productions in Italy (1945-1962).

• 29-30 May 2025. Universidad de Zaragoza, Facultad de Filosofía y Letras, Spain “Real and Imagined Spaces in Film.” Paper: ‘A More Complete Picture’: Real and Intimate Space of the US-Mexico Border in Lone Star (John Sayles, 1996).

• 3-6 April 2025. Fairmont Chicago, Millenium Park, and Swissôtel. Chicago (IL), US. SCMS Annual Conference, Panel F20 “Reframing the Western in the Post-1948 Phase of Studio Production” with Jenny Barrett (Edge Hill University), Austin Fisher (Bournemouth University), and John Winn (Duke University). Paper: Runaway Westerns in Mexico, 1948-1956: A Tentative Methodology.

• 17 October 2024. Università degli Studi di Bologna, Italia. “Workshop Celebr-Età” Paper: ‘All things change, but Gilbert Roland remains the same’ (or not?): Recycling, adaptability, and endurance in age transition.

• 13-17 March 2024. Sheraton Boston Hotel, Boston (MA), US. SCMS Annual Conference, Panel M7 “Expanding the Borders of the Frontier: Race and Gender in the Hollywood Western” with Philippa Gates (Wilfrid Laurier University), Jenny Barrett (Edge Hill University), Andrew P. Nelson (University of Utah). Paper: Revising Anthony Mann’s The Furies (1950) through Pairing Antagonism: Vance (Barbara Stanwyck) and Juan (Gilbert Roland).

• 6-8 September 2023. Université Sorbonne Paris Nord, Paris, France. 28^th Sercia Conference “Questioning the Margins of English Speaking Films and Series”. Sercia and Université Sorbonne Paris Nord. Paper (with Celestino Deleyto): King of the Bandits: The Cisco Kid, the B-Western and the Space of the Border.

• 23 May 2023. Universidad de Zaragoza, Zaragoza, Spain. School of English, Drama, and Creative Studies and Universidad de Zaragoza Post-graduate Research Symposium. Paper: Space, Landscape, and Characters in Westerns and South-of-the-Border Westerns.

• 12-15 April 2023. Sheraton Denver Downtown Hotel, Denver (CO), US. SCMS Annual Conference, Panel B14, “Revisiting the Cold War Western” with Austin Fisher (Bournemouth University), Jenny Barrett (Edge Hill University), Andrew P. Nelson (University of Utah). Paper: The Revolutionary Implication of Duel in the Sun (1947): Irrationality and Conformism in the First Phase of the Cold War.

• 5-8 July 2022. Sapienza Università Roma, Italy. HoMER-History of Moviegoing Exhibition and Reception Conference. Paper (with prof. Michele Fadda): Hollywood Western and Mexican Audiences Across the US-Mexico Border: A Tentative Methodology.

• May 31-June 3, 2022. Université de Bordeaux-Montaigne, Bordeaux, France. Conference AFEA (Association Française d’Etudes Américaines) “Legitimacy, Authority, Canons”. Université Bordeaux Montaigne-AFEA. Paper: John Ford and the Counter-canon of the Classical Hollywood Western.

• 4-6 May 2022. Université d’Artois, Arras, France. International Conference “Elsewhere From an American Perspective: Foreign Places in American Cinema”. Centre de Recherche Textes et Cultures-Université d’Artois. Paper: John Ford’s Mexico: The Fugitive (1947).

• 16 December 2021. University of Birmingham, Birmingham, UK. School of English, Drama, and Creative Studies and Universidad de Zaragoza Post-graduate Research Symposium. Paper: Mapping Out the US-Mexico Borderland in the Classical Hollywood Western.

• 8 November 2021. Università di Parma, Parma, Italia. “Ricerche dottorali: fonti e metodi”. Università di Parma e CUC. Paper: ‘Up and Down the Rio Grande’. Il confine tra Messico e Stati Uniti nel western hollywoodiano, 1930-1960.

• 21 October 2021. University of Birmingham, Birmingham, UK. School of English, Drama, and Creative Studies and Universidad de Zaragoza Post-graduate Research Symposium. Paper: From the Frontier to ‘la frontera’: A Transnational Perspective on the South-of-the-Border Western.

• 8-10 September 2021. Universidad de Zaragoza, Zaragoza, Spain. 26^th Sercia Conference “Cosmopolitan Aspirations in English-Speaking Cinema and Television” Sercia and Departamento de Filología Inglesa y Alemana Universidad de Zaragoza. Paper: A Cosmopolitan Notion of Morality in Budd Boetticher’s ‘Southbound Detours’.

• 2-4 June 2021. Université de Tours, Tours, France. SAES 60^th Conference “Renaissances”. SAES (Société des Angliciste de l’Enseignement Supérieur), Université de Tours. Paper: Two Cases of Black Rebirth: Duke Ellington’s Jump for Joy and Vincente Minnelli’s Cabin in the Sky (1941).

• 27-28 May 2021. Universidad de Zaragoza, Zaragoza, Spain. SEING Seminar “Building Bridges and Filling Gaps in English Studies Research” Departamento de Filología Inglesa y Alemana Universidad de Zaragoza. Paper: Exploring the Borderland: Anthony Quinn and The Ride Back (1957).

• 2-4 November 2020. Università degli Studi di Udine, Udine, Italia. XXVII International Film and Media Studies Conference/Film Forum Udine “Retuning the Screen: Sound Methods and the Aural Dimension of Film and Media History”. Università degli Studi di Udine e Film Forum Udine. Paper: Dead Men Talking: How Sonic Imagination Works in Our Town (1940), Laura (1944), and D.O.A (1949).

• 25 September 2020. Universidad de Zaragoza, Zaragoza, Spain. SEING Seminar “Research Across Genres, Modes, and Media”. Departamento de Filología Inglesa y Alemana Universidad de Zaragoza. Paper: ‘Up and Down the Rio Grande’: Mapping Out the US-Mexico Border in the Classical Hollywood Western.

• 4-6 September 2019. Université de Bretagne Occidentale, Brest, France. 25^th Sercia Conference “Trouble on Screen”, Sercia and UBO. Paper: ‘Troubles Melt Like Lemon Drops’: How to Tackle Psychological Depression in 1930s Popular Songs.

• 19-22 March 2019. Università di Pavia, Cremona, Italia. Dipartimento di Musicologia e Beni Culturali. “Mapping Places, Sounding Spaces. Geographies of Sound in Audiovisual Media”, Università di Pavia, Kiel Society for Film Music Research. Paper: The Spaces of Cowboy and Folk Songs in 1930s American Midwest.

• 15-16 November 2018. Université Paul-Valéry Montpellier 3, France. EMMA (Étude Montpelliéraines du Monde Anglophone). “Transnationalism and Imperialism: New Perspectives on the Western” Sercia and EMMA. Paper: John Ford’s ‘Cavalry Trilogy’: American Imperialism or Irish Republicanism?

• 6-8 September 2018. Linnaeus University, Växjö, Sweden. 24^th Sercia Conference “Symbiotic Cinema, Confluences Between Cinema and Other Media” Sercia and Linnaeus University Center for Intermedial and Multimodal Studies. Paper: The Sounds in The Thin Man: A Case of Symbiotic Relationship Between Literature, Cinema, and Radio.

• 7-9 September 2017. Università di Bologna, Bologna, Italia. 23^rd Sercia Conference “That’s Entertainment! Spectacle, Amusement, Audience and the Culture of Recreation in the Audiovisual Contexts of English-speaking Countries” Sercia and DARvipem. Paper: Crooners and Cowboys: How 1930s American Sensibility Was Shaped by Vocal Tracks.

 

Archival research

• July 21-30, 2025. Academy of Motion Pictures Arts and Sciences and Margaret Herrick Library. Beverly Hills, Los Angeles (CA). Research on the different versions of the script of Roman Holiday (William Wyler, 1953)

• December 5-6, 2024. Archivio Andreotti, Istituto Luigi Sturzo, Roma. Analysis of files related to rental, credit, and Italian Commissione Consultiva per il Cinema with particular attention to the ANICA - MPEA agreements.

• June 17-28, 2024. Archivio Centrale di Stato, Roma. Analysis of files related to the documentation which goes under the name of “Concessione di Certificato di Nazionalità” (acronym: CF 16 - 5000) in relation to Italian-American informal coproductions.
  

• April 17-28, 2023. Academy of Motion Pictures Arts and Sciences and Margaret Herrick Library. Beverly Hills, Los Angeles (CA). Gilbert Roland Papers. Research on the relationship between Mexico and Mexican culture in the life and film/TV productions of Gilbert Roland.
  

• April 24-25, 2023. Pickford Center for Motion Picture Study. Hollywood, Los Angeles (CA). Hollywood Home Movies: Treasures from the Academy Film Archive: Gilbert Roland Collection. Research on the relationship between Mexico and Mexican culture in the life and film/TV productions of Gilbert Roland.

• July 20-August 16, 2022. Harry Ransom Center. University of Texas at Austin (TX). Selznick Collection. Research on spatial representation, costuming, and production of Duel in the Sun (King Vidor, 1947).

• September 15-November 30, 2010. Cineteca di Bologna, Bologna, Italy. Internship. Synopsis for English, French, and Spanish press reviews associated with the project “Italia Taglia” on censorship.

 

Linguistic competences

Native language: Italian

English: C2

French: B2

Spanish: B1

 

Membership

2020: SCMS (Society for Cinema and Media Studies) Norman, Oklahoma.

https://www.cmstudies.org

2020: LASA (Latin American Studies Association) Pittsburgh, Pennsylvania.

https://lasaweb.org/en/

2018: CUC (Consulta Universitaria Cinema) Roma, Italia.

https://www.consultacinema.org/

2017: SERCIA (Société d’Etudes et de Recherche sur le Cinéma Anglophone) Paris, France. http://sercia.net [http://sercia.net/]