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Alessandra Raengo

Associate Professor    

MA and PhD, Cinema Studies, New York University, NY
BA in Philosophy and Communication, Catholic University of the Sacred Heart, Milan, Italy


Race and Visual Culture, Critical Race Studies, Critical Theory, Aesthetics, Materialism, Philosophy of the Image.


Alessandra Raengo works on blackness in the visual and aesthetic fields. She is the coordinator of liquid blackness, a research project on blackness and aesthetics which curates film series, online publications, and critical encounters around art. Her essays on blackness in the cinema, postblack art, the assimilationist imagination, and race in visual culture more broadly have appeared in a variety of anthologies and journals including Camera Obscura and Adaptation. She is the author of On the Sleeve of the Visual: Race as Face Value (Dartmouth College Press, 2013) about race and image ontology and currently working on a book titled Critical Race Theory and Bamboozled, for Bloomsbury Press. She has co-edited several volumes, including, with Robert Stam, two anthologies on adaptation studies, Literature and Film: A Guide to the Theory and Practice of Film Adaptation and A Companion to Literature and Film (Blackwell, 2005 and 2004).



In progress: Critical Race Theory and Bamboozled. Bloomsbury. Expected publication February 2016.

On the Sleeve of the Visual: Race as Face Value.  Hanover: Dartmouth College Press, 2013

with Robert Stam, eds.: Literature and Film. A Guide to the Theory and Practice of Film Adaptation. Blackwell Publishing, 2005

with Robert Stam, eds.: A Companion to Literature and Film. Blackwell Publishing, 2004

with Leonardo Quaresima and Laura Vichi, eds.: I limiti della rappresentazione. The Bounds of Representation. Udine: Forum, 2000

with Leonardo Quaresima and Laura Vichi, eds.: La nascita dei generi cinematografici. The Birth of Film Genres. Udine: Forum, 1999

Journal Articles, Essays, and Book Chapters

“Encountering the Rebellion: liquid blackness reflects on the expansive possibilities of the L.A. Rebellion films,” in To Emancipate the Image: The L.A. Rebellion of Black Filmmakers, ed. Allyson Nadia Field, Jan-Christopher Horak, Jacqueline Stewart, University of California Press, forthcoming, July 2015

“©AMOUFLAGE”, in On Not Looking: The Paradox of Contemporary Visual   Culture, ed. Francis Guerin, Routledge, 2015.

“Out of the Literary Comfort Zone: Adaptation, Embodiment, Assimilation,” in Teaching Adaptations, ed. Deborah Cartmell and Imelda Whelehan, Palgrave, 2014: 106-119.

“In the Shadow,” Camera Obscura 83, vol. 28, no. 2 (2013).

“Shadowboxing: Lee Daniels’s Non-Representational Cinema,” in Mia Mask, ed., Contemporary Black American Cinema, Routledge, 2012: 200-216.

“Optic Black: Blackness as Phantasmagoria,” in Akil Houston ed., Beyond Blackface. Africana Images in the US Media. Kendall Hunt Publishing, 3rd edition, 2010: 151-162.

“A Necessary Signifier: The Body as Author and Text in The Jackie Robinson Story.” Adaptation. A Journal of Literature on Screen Studies 1 (2) 2008: 79-105.

Conference Proceedings

“Life in Those Shadows! Kara Walker’s Post-cinematic Silhouettes.” In Jane Gaines, Francesco Casetti, Valentina Re, eds. The Very Beginning/ At the Very End. Udine: Forum, 2010: 211-220.

“Other Cinemas: The Photographic Gaze of the Long Twentieth Century.” In Enrico Biasin, Roy Menarini, Federico Zecca, eds. The Ages of Cinema. Criteria and Models for the Construction of Historical Periods. Udine: Forum, March 2008: 335-343.

“Race and Indexicality: Images of the Civil Rights Struggle in Night of the Living Dead.” In Veronica Innocenti and Valentina Re, eds. Limina/le soglie del film. Film’s Thresholds.  Udine: Forum, 2004: 541-556.

Online publications

“Introduction,” liquid blackness 1, no. 4 (November 2014): “fluid radicalisms”

Blackness, Aesthetics, Liquidity,” liquid blackness 1, no. 2 (April 2014): “blackness, aesthetics, liquidity”

“The L.A. Rebellion Comes to Town,” liquid blackness 1, no. 1 (February 2014): “liquid blackness meets the L.A. Rebellion”

“Reification, Reanimation, and the Money of the Real,” The World Picture Journal 7, “Distance,” Summer 2012.