A perfect illustration of the inadequate way Italian popular cinema is characteristically treated by academic commentators is Peter Bondanella's chapter From Italian Neorealism to Cinecittà in European Cinema, edited by Elizabeth Ezra.
Bondanella at least shows a willingness to mention the peplum, western and horror genres – other popular forms such as comedy are absent – but given the errors in the three pages he devotes them one feels that he might has well have not bothered.
For instance, Sergio Leone's collaborators on Once Upon a Time in the West, Bernardo Bertolucci and Dario Argento, are identified as “young aspiring film buffs soon to become directors themselves,” conveniently ignoring that Bertolucci had already directed the likes of La Commare secca and Before the Revolution well before this collaboration with Leone.
Discussing the “spaghetti nightmare” film, Bondanella identifies three pioneers: “Mario Bava [...] Lucio Fulci [...] and Riccardo Freda, whose directorial debut, La maschera del demonio (Black Sunday, 1960), made a cult figure out of British actress Barbara Steele.”
Does anyone actually bother checking the facts in cases like this? Do they simply not know enough about these films and filmmakers to be able to tell? Do they think that the cult film enthusiast reading will not notice? Or by complaining does one merely further marginalise oneself and this cinema, for failing to show a lack of 'proper perspective'?