Andrea Bini was born in Rome, where he studied Italian literature and Philosophy at the University 鈥淟a Sapienza鈥� of Rome. He taught in several American universities, incuding UCLA, Santa Clara University, and Washington and Lee University before moving back to Rome in 2014.
Bini has published two books:听Kant and Carabellese听(Luiss University Press, 2006), and听Male Anxiety and Psychopathology in Film. Comedy Italian Style听(Palgrave Macmillan, 2015). He has also published several articles on Italian cinema, literature, and culture, including two chapters in the book听Popular Italian Cinema: Culture and Politics in a Postwar Society, edited by Flavia Brizio-Skov (Tauris, 2011).
One review of听听Male Anxiety and Psychopathology in Film. Comedy Italian Style听蝉迟补迟别诲
"Bini's innovative approach to one of the most popular types of Italian cinema, commedia all'italiana, is a much-needed addition to the field. The author's thorough and insightful close analyses of works from the 1950s and 1960s expose readers to a wide variety of Italian comedies, many of which are not well known in the English-speaking world. His thesis that cinema anticipated the boom that arose from a crisis regarding national identity, exposed by the failures of fascism, is particularly compelling." - Mary Ann McDonald Carolan, Associate Professor of Modern Languages & Literature, Fairfield University, USA
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Jaws. Lo Squalo: La Forma Della Paura
Professor Bini recently published the book 鈥淛aws. Lo Squalo: La forma della paura,鈥� in which he argues that, while the 铿乴m launched the career of Steven Spielberg, the enormous popularity of the 铿乴m has paradoxically obscured its true qualities: for decades the most important critics have remained - literally - on the surface, unable to grasp the most complex and profound aspects.
Bini demonstrates that Jaws is much more than a 鈥渒illing-machine to produce fear鈥� (as it has been de铿乶ed with a certain contempt) but a very re铿乶ed auteur 铿乴m, worthy of being put next to the great works of the so-called 鈥淣ew Hollywood鈥� of the Sixties-Seventies, both for its innovative style and for the way in which it mercilessly denounced the evils of contemporary American society.