Áine O’Healy. 1988. ‘Re-Envisioning Moravia: Godard’s “Le Mépris” and Bertolucci’s “Il Conformista”’. Annali d’Italianistica 6:148–61.
Andall, Jacqueline, and Derek Duncan. 2005. Italian Colonialism: Legacy and Memory. Oxford: Peter Lang.
Angelone, AnitaClò, Clarissa. 2011. ‘Other Visions: Contemporary Italian Documentary Cinema as Counter-Discourse.’ Studies in Documentary 5(2):83–89.
Anon. 2011. ‘The Sight and Sound of Albanian Migration in Contemporary Italian Cinema’. New Readings 8(1).
Anon. n.d. ‘Conformista, Il/The Conformist’. Sight and Sound 4:303–12.
Antonello, Pierpaolo, and Florian Mussgnug. 2009. Postmodern Impegno: Ethics and Commitment in Contemporary Italian Culture. Vol. v. 4. Oxford: Peter Lang.
Barański, Zygmunt G. and University College, Dublin. Foundation for Italian Studies. 1999. Pasolini Old and New: Surveys and Studies. Dublin: Four Courts Press for the Foundation for Italian Studies, University College Dublin.
Bazin, André, and Hugh Gray. 2005. What Is Cinema? Berkeley: University of California Press.
Bertellini, Giorgio. 2004a. The Cinema of Italy. Vol. 24 frames. London: Wallflower.
Bertellini, Giorgio. 2004b. The Cinema of Italy. London: Wallflower.
Bertellini, Giorgio. 2004c. The Cinema of Italy. Vol. 24 frames. London: Wallflower.
Bertellini, Giorgio. 2004d. The Cinema of Italy. Vol. 24 frames. London: Wallflower.
Bertellini, Giorgio. 2004e. The Cinema of Italy. London: Wallflower.
Bondanella, Peter. 1993. The Films of Roberto Rossellini. Vol. Cambridge film classics. Cambridge: Cambridge University Press.
Bondanella, Peter E. 2001a. Italian Cinema: From Neorealism to the Present. 3rd ed. New York: Continuum.
Bondanella, Peter E. 2001b. Italian Cinema: From Neorealism to the Present. 3rd ed. New York: Continuum.
Bondanella, Peter E. 2014a. The Italian Cinema Book. London: British Film Insitute.
Bondanella, Peter E. 2014b. The Italian Cinema Book. London: British Film Insitute.
Bonsaver, Guido. 2001. ‘The Egocentric Cassandra of the Left: Representations of Politics in the Films of Nanni Moretti’. The Italianist 21(1):158–83. doi: 10.1179/ita.2001.21.1.158.
Bonsaver, Guido. n.d.-a. ‘Golden Door’. Sight and Sound 17:16–18.
Bonsaver, Guido. n.d.-b. ‘The Rome Cell’. Sight and Sound 14:28–29.
Bordwell, David, Kristin Thompson, and Jeff Smith. 2017. Film Art: An Introduction. 11th ed. New York: McGraw-Hill Education.
Borroni, Chiara. n.d. ‘C’era Una Volta La Terra Promessa’. Cineforum 46:43–46.
Branigan, Edward. 1984. Point of View in the Cinema: A Theory of Narration and Subjectivity in Classical Film. Vol. Approaches to semiotics. Berlin: Mouton.
Brizio-Skov, Flavia. 2011. Popular Italian Cinema: Culture and Politics in a Postwar Society. London: I.B. Tauris.
Brook, Clodagh J. 2009. Marco Bellocchio: The Cinematic I in the Political Sphere. Toronto: University of Toronto Press.
Brunetta, Gian Piero. 2009a. The History of Italian Cinema: A Guide to Italian Film from Its Origins to the Twenty-First Century. Princeton, N.J.: Princeton University Press.
Brunetta, Gian Piero. 2009b. The History of Italian Cinema: A Guide to Italian Film from Its Origins to the Twenty-First Century. Princeton, N.J.: Princeton University Press.
Brunette, Peter. 1987. Roberto Rossellini. New York: Oxford University Press.
Cantini, Maristella, ed. 2013. Italian Women Filmmakers and the Gendered Screen. New York: Palgrave Macmillan.
Celli, Carlo, and Marga Cottino-Jones. 2007. A New Guide to Italian Cinema. Vol. Italian and Italian American studies. 1st ed. New York: Palgrave Macmillan.
Chaudhuri, Shohini. 2006. Feminist Film Theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. London: Routledge.
Cincinelli, Sonia. 2009a. I Migranti Nel Cinema Italiano. Roma (Italia): Kappa.
Cincinelli, Sonia. 2009b. I Migranti Nel Cinema Italiano. Roma (Italia): Kappa.
Dalle Vacche, Angela. 1992a. The Body in the Mirror: Shapes of History in Italian Cinema. Princeton, N.J.: Princeton University Press.
Dalle Vacche, Angela. 1992b. The Body in the Mirror: Shapes of History in Italian Cinema. Princeton, N.J.: Princeton University Press.
Deborah Amberson. 2009. ‘Battling History: Narrative Wars in Roberto Rossellini’s Paisà’. Italica 86(3):392–407.
D’Onofrio, Emanuele. 2010a. ‘Percorsi Di Identità Narrativa Nella Memoria Difficile: La Musica in I Cento Passi e Buongiorno, Notte.’ , 30(2):219–44.
D’Onofrio, Emanuele. 2010b. ‘Percorsi Di Identità Narrativa Nella Memoria Difficile: La Musica in I Cento Passi e Buongiorno, Notte.’ , 30(2):219–44.
Drake, Richard. 1995. The Aldo Moro Murder Case. Cambridge, Mass: Harvard University Press.
Drake, Richard1. 2006. ‘The Aldo Moro Murder Case in Retrospect.’ Journal of Cold War Studies. 8(2):114–25.
Filippelli, Sara. 2015. ‘Tutto Parla Di Te: La Trilogia Materna Di Alina Marazzi’. The Italianist 35(2):272–83. doi: 10.1179/0261434015Z.000000000120.
Forgacs, David, Sarah Lutton, Geoffrey Nowell-Smith, and British Film Institute. 2000. Roberto Rossellini: Magician of the Real. London: bfi Publishing.
Fredric Jameson. 1986. ‘On Magic Realism in Film’. Critical Inquiry 12(2):301–25.
Glynn, Ruth, Giancarlo Lombardi, Alan O’Leary, and University of London. Institute of Germanic & Romance Studies. 2012a. Terrorism, Italian Style: Representations of Political Violence in Contemporary Italian Cinema. Vol. IGRS books. London: Institute of Germanic & Romance Studies, School of Advanced Study, University of London.
Glynn, Ruth, Giancarlo Lombardi, Alan O’Leary, and University of London. Institute of Germanic & Romance Studies. 2012b. Terrorism, Italian Style: Representations of Political Violence in Contemporary Italian Cinema. Vol. v. 3. London: Institute of Germanic & Romance Studies, School of Advanced Study, University of London.
Greene, Naomi. 1990. Pier Paolo Pasolini: Cinema as Heresy. Princeton, N.J.: Princeton University Press.
Gundle, Stephen, and Lucia Rinaldi. 2007. Assassinations and Murder in Modern Italy: Transformations in Society and Culture. 1st ed. New York, N.Y.: Palgrave Macmillan.
HEYER-CAPUT, MARGHERITA1. 2013. ‘For a Cinema of Inbetween-Ness: Emanuele Crialese’s Nuovomondo (2006).’ Italica. 90(2):272–85.
Kolker, Robert Phillip and British Film Institute. 1985. Bernardo Bertolucci. London: British Film Institute.
Landy, Marcia. 2000a. Italian Film. Vol. National film traditions. Cambridge: Cambridge University Press.
Landy, Marcia. 2000b. Italian Film. Vol. National film traditions. Cambridge: Cambridge University Press.
Landy, Marcia. 2000c. Italian Film. Vol. National film traditions. Cambridge: Cambridge University Press.
Lee, Marshall. n.d. ‘The Silvio Lining’. Sight and Sound 16:20–24.
Lombardi, Giancarlo, and Christian Uva, eds. 2016a. Italian Political Cinema: Public Life, Imaginary, and Identity in Contemporary Italian Film. Vol. volume 1. Bern: Peter Lang.
Lombardi, Giancarlo, and Christian Uva, eds. 2016b. Italian Political Cinema: Public Life, Imaginary, and Identity in Contemporary Italian Film. Vol. volume 1. Bern: Peter Lang.
Lombardi, Giancarlo, and Christian Uva, eds. 2016c. Italian Political Cinema: Public Life, Imaginary, and Identity in Contemporary Italian Film. Vol. volume 1. Bern: Peter Lang.
Lombardi, Giancarlo, and Christian Uva, eds. 2016d. Italian Political Cinema: Public Life, Imaginary, and Identity in Contemporary Italian Film. Vol. volume 1. Bern: Peter Lang.
Loshitzky, Yosefa. 1995. The Radical Faces of Godard and Bertolucci. Detroit: Wayne State University Press.
Luca Caminati. 2006. ‘The Return of History: Gianni Amelio’s “Lamerica”, Memory, and National Identity’. Italica 83(3):596–608.
Luciano, Bernadette, and Susanna Scarparo. 2013. Reframing Italy: New Trends in Italian Women’s Filmmaking. Vol. volume 59. West Lafayette, Indiana: Purdue University Press.
Marcus, Millicent Joy. 1986. Italian Film in the Light of Neorealism. Princeton, N.J.: Princeton University Press.
Marcus, Millicent Joy. 2002a. After Fellini: National Cinema in the Postmodern Age. Baltimore, Md: Johns Hopkins University Press.
Marcus, Millicent Joy. 2002b. After Fellini: National Cinema in the Postmodern Age. Baltimore, Md: Johns Hopkins University Press.
Marcus, Millicent Joy. 2002c. After Fellini: National Cinema in the Postmodern Age. Baltimore, Md: Johns Hopkins University Press.
Maura Bergonzoni. n.d. ‘Alina Marazzi’s Un’ora Sola Ti Vorrei and Vogliamo Anche Le Rose: The Personal Stands for the Political’. Studies in Documentary Film.
Mazierska, Ewa, and Laura Rascaroli. 2004. The Cinema of Nanni Moretti: Dreams and Diaries. London: Wallflower.
Millicent Marcus. n.d. ‘Palimpsest versus Pastiche: Revisiting Neo-Realism in the 1990s’. Annali 56–68.
Mulvey, Laura. 2008. Visual and Other Pleasures. Vol. Language, discourse, society. 2nd ed. Basingstoke: Palgrave Macmillan.
Nathan, Vetri. 2017. Marvelous Bodies: Italy’s New Migrant Cinema. Vol. volume 70. West Lafayette, Indiana: Purdue University Press.
Nowell-Smith, Geoffrey, James Hay, and Gianni Volpi. 1996. The Companion to Italian Cinema. London: Cassell.
O’Leary, Alan. 2010. ‘Italian Cinema and the “Anni Di Piombo.”.’ Journal of European Studies. 40(3):243–57. doi: 10.1177/0047244110371912.
O’Leary, Alan. 2011. Tragedia All’italiana: Italian Cinema and Italian Terrorisms, 1970-2010. Vol. v. 9. Oxford: Peter Lang.
Orr, Christopher. n.d. ‘Pasolini’s Accattone, or Naturalism and Its Discontents’. Film Criticism (ARCHIVE) 19:54–66.
Pasolini, Pier Paolo. 1972. Empirismo Eretico. Milano: Garzanti.
Paul Sutton. n.d. ‘“Say Something Left-Wing!” Nanni Moretti’s Il Caimano’. Studies in European Cinema.
Rascaroli, Laura. 2005. ‘Carlo Mazzacurati, Silvio Soldini, and Gianni Amelio: Highways, Side Roads, and Borderlines – the New Italian Road Movie’. Pp. 251–72 in Italian cinema: new directions. New York: Peter Lang.
Rascaroli, Laura, Barry Monahan, and Gwenda Young. 2014. Amateur Filmmaking: The Home Movie, the Archive, the Web. New York: Bloomsbury Academic.
Renga, Dana. 2013. Unfinished Business: Screening the Italian Mafia in the New Millennium. Toronto: University of Toronto Press.
Rhodes, John David. 2007. Stupendous, Miserable City: Pasolini’s Rome. Minneapolis: University of Minnesota Press.
Rigoletto, Sergio. 2012. ‘Contesting National Memory: Masculine Dilemmas and Oedipal Scenarios in Bernardo Bertolucci’s and’. Italian Studies 67(1):120–42. doi: 10.1179/174861812X13202431699994.
Rohdie, Sam. 1995. The Passion of Pier Paolo Pasolini. London: BFI Publishing.
Rossellini, Roberto, and Adriano Aprà. 1987. Il Mio Metodo: Scritti e Interviste. Vol. Cinema. 2a ed. riveduta a ampliata. Venezia: Marsilio.
Ruberto, Laura E., and Kristi M. Wilson. 2007. Italian Neorealism and Global Cinema. Detroit: Wayne State University Press.
Rumble, Patrick Allen, and Bart Testa. 1994. Pier Paolo Pasolini: Contemporary Perspectives. Toronto: University of Toronto Press.
Schoonover, Karl. 2012. Brutal Vision: The Neorealist Body in Postwar Italian Cinema. Minneapolis: University of Minnesota Press.
Sciascia, Leonardo. 1978. L’affaire Moro. Vol. 80. Palermo: Sellerio.
Silverman, Kaja. 1988. The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema. Bloomington: Indiana University Press.
Sitney, P. Adams. 2013a. Vital Crises in Italian Cinema: Iconography, Stylistics, Politics. 1st paperback ed. New York: Oxford University Press.
Sitney, P. Adams. 2013b. Vital Crises in Italian Cinema: Iconography, Stylistics, Politics. 1st paperback ed. New York: Oxford University Press.
Small, Pauline. 2005. ‘Giordana’s I Cento Passi: Renegotiating the Mafia Codes.’ New Cinemas: Journal of Contemporary Film III(1):41–54.
Sorlin, Pierre. 1996. Italian National Cinema, 1896-1996. Vol. National cinemas. London: Routledge.
Stefania Benini. n.d. ‘“A Face, a Name, a Story”: Women’s Identities as Life Stories in Alina Marazzi’s Cinema’. Studies in European Cinema.
SUSANNA SCARPARO and BERNADETTE LUCIANO. 2010. ‘The Personal Is Still Political: Films “by and for Women” by the New Documentariste’. Italica 87(3):488–503.
Tagliani, Giacomo. 2014. ‘Depicting Life, Analysing the Power: The “Actuality” of Italian Cinema’. Journal of Italian Cinema & Media Studies 2(2):199–214. doi: 10.1386/jicms.2.2.199_1.
Tonetti, Claretta. 1995. Bernardo Bertolucci: The Cinema of Ambiguity. New York: Twayne.
Viano, Maurizio Sanzio. 1993. A Certain Realism: Making Use of Pasolini’s Film Theory and Practice. Berkeley: University of California Press.
Vighi, Fabio. 2006a. Traumatic Encounters in Italian Film: Locating the Cinematic Unconscious. Bristol, U.K.: Intellect.
Vighi, Fabio. 2006b. Traumatic Encounters in Italian Film: Locating the Cinematic Unconscious. Bristol, U.K.: Intellect.
Wagstaff, Christopher. 2007. Italian Neorealist Cinema: An Aesthetic Approach. Vol. Toronto Italian studies. Toronto: University of Toronto Press.
Wagstaff, Christopher. 2012. Il Conformista (The Conformist). London: Palgrave Maxmillan.
Willemen, Paul and British Film Institute. 1977. Pier Paolo Pasolini. London: British Film Institute.
Wood, Mary P. 2005a. Italian Cinema. English ed. Oxford: Berg.
Wood, Mary P. 2005b. Italian Cinema. English ed. Oxford: Berg.
Zagarrio, Vito. 2016. ‘Not Even in a Dream. Emigration and Immigration in New Italian Cinema’. Journal of Italian Cinema & Media Studies 4(3):421–38. doi: 10.1386/jicms.4.3.421_1.
Zambenedetti, Alberto. 2006. ‘Multiculturalism in New Italian Cinema’. Studies in European Cinema 3(2).
