Abstract

According to a growing literature interested in investigating the social and professional dynamics of Italian film criticism, this article intends to explore, through a possible iconographic anthology, the representations of the professional film criticism given by Italian cinema itself. Fictional cinema, as a privileged source for the study of history and national identity, is, albeit rarely, a witness and reader of a profession and a professional figure characterized by phases of ideological clashes, different methodologies, currents and specializations. An attempt will be made to show how cinema has sometimes anticipated certain objects of reflection of specialist texts and indicated certain directions in which film studies have only recently begun to proceed