1
Bondanella PE. Italian cinema: from Neorealism to the present. 3rd ed. New York: : Continuum 2001.
2
Bondanella PE. The Italian cinema book. London: : British Film Insitute 2014.
3
Brunetta GP. The history of Italian cinema: a guide to Italian film from its origins to the twenty-first century. Princeton, N.J.: : Princeton University Press 2009.
4
Marcus MJ. After Fellini: national cinema in the postmodern age. Baltimore, Md: : Johns Hopkins University Press 2002.
5
Landy M. Italian film. Cambridge: : Cambridge University Press 2000. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2799473
6
Wood MP. Italian cinema. English ed. Oxford: : Berg 2005.
7
Bondanella P. The films of Roberto Rossellini. Cambridge: : Cambridge University Press 1993. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2789126
8
Brunette P. Roberto Rossellini. New York: : Oxford University Press 1987.
9
Rossellini R, Aprà A. Il mio metodo: scritti e interviste. 2a ed. riveduta a ampliata. Venezia: : Marsilio 1987.
10
Wagstaff C. Italian neorealist cinema: an aesthetic approach. Toronto: : University of Toronto Press 2007. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3102065
11
Marcus MJ. After Fellini: national cinema in the postmodern age. Baltimore, Md: : Johns Hopkins University Press 2002.
12
Landy M. Italian film. Cambridge: : Cambridge University Press 2000. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2799473
13
Bertellini G. The cinema of Italy. London: : Wallflower 2004.
14
Deborah Amberson. Battling History: Narrative Wars in Roberto Rossellini’s Paisà. Italica 2009;86:392–407.http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/40505896
15
Bazin A, Gray H. What is cinema? Berkeley: : University of California Press 2005.
16
Forgacs D, Lutton S, Nowell-Smith G, et al. Roberto Rossellini: magician of the real. London: : bfi Publishing 2000.
17
Schoonover K. Brutal vision: the neorealist body in postwar Italian cinema. Minneapolis: : University of Minnesota Press 2012. http://encore.lib.warwick.ac.uk/iii/encore/search/C__SBrutal%20vision%20neorealist%20body__Ff%3Afacetmediatype%3Ah%3Ah%3AE-Book%3A%3A__Orightresult__U__X0?lang=eng&suite=cobalt
18
Rhodes JD. Stupendous, miserable city: Pasolini’s Rome. Minneapolis: : University of Minnesota Press 2007. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2917414
19
Rumble PA, Testa B. Pier Paolo Pasolini: contemporary perspectives. Toronto: : University of Toronto Press 1994.
20
Barański ZG, University College, Dublin. Foundation for Italian Studies. Pasolini old and new: surveys and studies. Dublin: : Four Courts Press for the Foundation for Italian Studies,  University College Dublin 1999.
21
Greene N. Pier Paolo Pasolini: cinema as heresy. Princeton, N.J.: : Princeton University Press 1990.
22
Pasolini PP. Empirismo eretico. Milano: : Garzanti 1972.
23
Rohdie S. The passion of Pier Paolo Pasolini. London: : BFI Publishing 1995.
24
Viano MS. A certain realism: making use of Pasolini’s film theory and practice. Berkeley: : University of California Press 1993. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2755041
25
Willemen P, British Film Institute. Pier Paolo Pasolini. London: : British Film Institute 1977.
26
Sitney PA. Vital crises in Italian cinema: iconography, stylistics, politics. 1st paperback ed. New York: : Oxford University Press 2013.
27
Orr, Christopher. Pasolini’s Accattone, or Naturalism and Its Discontents. Film Criticism (ARCHIVE);19:54–66.https://search.proquest.com/fiaf/docview/222721684/916415B323B34509PQ/1?accountid=14888
28
Bertellini G. The cinema of Italy. London: : Wallflower 2004.
29
Luca Caminati. The Return of History: Gianni Amelio’s ‘Lamerica’, Memory, and National Identity. Italica 2006;83:596–608.http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/27669108
30
The Sight and Sound of Albanian Migration in Contemporary Italian Cinema. New Readings 2011;8.http://ojs.cf.ac.uk/index.php/newreadings/article/view/21/16
31
Bertellini G. The cinema of Italy. London: : Wallflower 2004.
32
Rascaroli L. Carlo Mazzacurati, Silvio Soldini, and Gianni Amelio: Highways, Side Roads, and Borderlines – the New Italian Road Movie. In: Italian cinema: new directions. New York: : Peter Lang 2005. 251–72.https://contentstore.cla.co.uk/secure/link?id=aa20b7ae-58f1-e711-80cd-005056af4099
33
Andall J, Duncan D. Italian colonialism: legacy and memory. Oxford: : Peter Lang 2005.
34
Zambenedetti A. Multiculturalism in New Italian Cinema. Studies in European Cinema 2006;3.http://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/abs/10.1386/seci.3.2.105_1
35
Lombardi G, Uva C, editors. Italian political cinema: public life, imaginary, and identity in contemporary Italian film. Bern: : Peter Lang 2016.
36
Cincinelli S. I migranti nel cinema italiano. Roma (Italia): : Kappa 2009.
37
Nathan V. Marvelous bodies: Italy’s new migrant cinema. West Lafayette, Indiana: : Purdue University Press 2017.
38
Lombardi G, Uva C, editors. Italian political cinema: public life, imaginary, and identity in contemporary Italian film. Bern: : Peter Lang 2016. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3142447
39
Sitney PA. Vital crises in Italian cinema: iconography, stylistics, politics. 1st paperback ed. New York: : Oxford University Press 2013.
40
Bertellini G. The cinema of Italy. London: : Wallflower 2004.
41
Bondanella PE. Italian cinema: from Neorealism to the present. 3rd ed. New York: : Continuum 2001.
42
Bondanella PE. The Italian cinema book. London: : British Film Insitute 2014.
43
Bordwell D, Thompson K, Smith J. Film art: an introduction. 11th ed. New York: : McGraw-Hill Education 2017.
44
Branigan E. Point of view in the cinema: a theory of narration and subjectivity  in classical film. Berlin: : Mouton 1984. http://pugwash.lib.warwick.ac.uk/search~S15?/tPoint+of+View+in+the+Cinema+/tpoint+of+view+in+the+cinema/1%2C1%2C2%2CB/frameset&FF=tpoint+of+view+in+the+cinema+a+theory+of+narration+and+subjectivity+in+classical+film&2%2C%2C2/indexsort=-
45
Brizio-Skov F. Popular Italian cinema: culture and politics in a postwar society. London: : I.B. Tauris 2011.
46
Brunetta GP. The history of Italian cinema: a guide to Italian film from its origins to the twenty-first century. Princeton, N.J.: : Princeton University Press 2009.
47
Celli C, Cottino-Jones M. A new guide to Italian cinema. 1st ed. New York: : Palgrave Macmillan 2007. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2908952
48
Dalle Vacche A. The body in the mirror: shapes of history in Italian cinema. Princeton, N.J.: : Princeton University Press 1992.
49
Glynn R, Lombardi G, O’Leary A, et al. Terrorism, Italian style: representations of political violence in contemporary Italian cinema. London: : Institute of Germanic & Romance Studies, School of Advanced Study, University of London 2012.
50
Landy M. Italian film. Cambridge: : Cambridge University Press 2000. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2799473
51
Marcus MJ. Italian film in the light of neorealism. Princeton, N.J.: : Princeton University Press 1986.
52
Marcus MJ. After Fellini: national cinema in the postmodern age. Baltimore, Md: : Johns Hopkins University Press 2002.
53
Mulvey L. Visual and other pleasures. 2nd ed. Basingstoke: : Palgrave Macmillan 2008.
54
Nowell-Smith G, Hay J, Volpi G. The companion to Italian cinema. London: : Cassell 1996.
55
Sorlin P. Italian national cinema, 1896-1996. London: : Routledge 1996. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2552589
56
Wood MP. Italian cinema. English ed. Oxford: : Berg 2005.
57
Renga D. Unfinished business: screening the Italian Mafia in the new millennium. Toronto: : University of Toronto Press 2013.
58
Millicent Marcus. Palimpsest versus Pastiche: Revisiting Neo-realism in the 1990s. Annali;:56–68.http://0-search.ebscohost.com.pugwash.lib.warwick.ac.uk/login.aspx?direct=true&db=edsjsr&AN=edsjsr.24007364&site=eds-live&group=trial
59
D’Onofrio, Emanuele. Percorsi di identità narrativa nella memoria difficile: La musica in I cento passi e Buongiorno, notte. , 2010;30:219–44.http://0-search.ebscohost.com.pugwash.lib.warwick.ac.uk/login.aspx?direct=true&db=edb&AN=51318207&site=eds-live&group=trial
60
Ruberto LE, Wilson KM. Italian neorealism and global cinema. Detroit: : Wayne State University Press 2007.
61
Small, Pauline. Giordana’s I cento passi: renegotiating the Mafia codes. New Cinemas: Journal of Contemporary Film 2005;III:41–54.https://search.proquest.com/fiaf/docview/1745786463/BB4929D986AD4971PQ/4?accountid=14888
62
Vighi F. Traumatic encounters in Italian film: locating the cinematic unconscious. Bristol, U.K.: : Intellect 2006. http://ebookcentral.proquest.com/lib/warw/detail.action?docID=282969
63
Bonsaver, Guido. The Rome cell. Sight and Sound;14:28–9.https://0-search-proquest-com.pugwash.lib.warwick.ac.uk/docview/237109869/A7CD559232F34125PQ/1?accountid=14888
64
Brook CJ. Marco Bellocchio: the cinematic I in the political sphere. Toronto: : University of Toronto Press 2009.
65
D’Onofrio, Emanuele. Percorsi di identità narrativa nella memoria difficile: La musica in I cento passi e Buongiorno, notte. , 2010;30:219–44.http://0-search.ebscohost.com.pugwash.lib.warwick.ac.uk/login.aspx?direct=true&db=edb&AN=51318207&site=eds-live&group=trial
66
Glynn R, Lombardi G, O’Leary A, et al. Terrorism, Italian style: representations of political violence in contemporary Italian cinema. London: : Institute of Germanic & Romance Studies, School of Advanced Study, University of London 2012.
67
O’Leary, Alan. Italian cinema and the ‘anni di piombo.’. Journal of European Studies 2010;40:243–57. doi:10.1177/0047244110371912
68
O’Leary A. Tragedia all’italiana: Italian cinema and Italian terrorisms, 1970-2010. Oxford: : Peter Lang 2011. http://ebookcentral.proquest.com/lib/warw/detail.action?docID=1053995
69
Vighi F. Traumatic encounters in Italian film: locating the cinematic unconscious. Bristol, U.K.: : Intellect 2006. http://ebookcentral.proquest.com/lib/warw/detail.action?docID=282969
70
Drake R. The Aldo Moro murder case. Cambridge, Mass: : Harvard University Press 1995.
71
Sciascia L. L’affaire Moro. Palermo: : Sellerio 1978.
72
Drake, Richard1. The Aldo Moro Murder Case in Retrospect. Journal of Cold War Studies 2006;8:114–25.http://0-search.ebscohost.com.pugwash.lib.warwick.ac.uk/login.aspx?direct=true&db=hia&AN=20914367&site=eds-live&group=trial
73
Lombardi G, Uva C, editors. Italian political cinema: public life, imaginary, and identity in contemporary Italian film. Bern: : Peter Lang 2016. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3142447
74
Gundle S, Rinaldi L. Assassinations and murder in modern Italy: transformations in society and culture. 1st ed. New York, N.Y.: : Palgrave Macmillan 2007. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2327037
75
Angelone, AnitaClò, Clarissa. Other visions: Contemporary Italian documentary cinema as counter-discourse. Studies in Documentary 2011;5:83–9.http://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/abs/10.1386/sdf.5.2-3.83_7
76
Maura Bergonzoni. Alina Marazzi’s Un’ora sola ti vorrei and Vogliamo anche le rose: The personal stands for the political. Studies in Documentary Filmhttp://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/abs/10.1386/sdf.5.2-3.247_7
77
Stefania Benini. ‘A face, a name, a story’: Women’s identities as life stories in Alina Marazzi’s cinema. Studies in European Cinemahttp://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/abs/10.1386/seci.8.2.129_1
78
Cantini M, editor. Italian women filmmakers and the gendered screen. New York: : Palgrave Macmillan 2013. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2722192
79
Filippelli S. Tutto parla di te: La trilogia materna di Alina Marazzi. The Italianist 2015;35:272–83. doi:10.1179/0261434015Z.000000000120
80
SUSANNA SCARPARO and BERNADETTE LUCIANO. The Personal is Still Political: Films ‘by and for Women’ by the New documentariste. Italica 2010;87:488–503.http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/25780742?seq=1#page_scan_tab_contents
81
Luciano B, Scarparo S. Reframing Italy: new trends in Italian women’s filmmaking. West Lafayette, Indiana: : Purdue University Press 2013. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3002040
82
Rascaroli L, Monahan B, Young G. Amateur filmmaking: the home movie, the archive, the web. New York: : Bloomsbury Academic 2014.
83
Silverman K. The acoustic mirror: the female voice in psychoanalysis and cinema. Bloomington: : Indiana University Press 1988.
84
Chaudhuri S. Feminist film theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. London: : Routledge 2006.
85
Lombardi G, Uva C, editors. Italian political cinema: public life, imaginary, and identity in contemporary Italian film. Bern: : Peter Lang 2016.
86
Antonello P, Mussgnug F. Postmodern impegno: ethics and commitment in contemporary Italian culture. Oxford: : Peter Lang 2009. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2876308
87
Tagliani G. Depicting life, analysing the power: The ‘actuality’ of Italian cinema. Journal of Italian Cinema & Media Studies 2014;2:199–214. doi:10.1386/jicms.2.2.199_1
88
Lee, Marshall. The Silvio lining. Sight and Sound;16:20–4.https://0-search-proquest-com.pugwash.lib.warwick.ac.uk/docview/237117868/BB8505061D6A4FC6PQ/1?accountid=14888
89
Paul Sutton. ‘Say Something Left-Wing!’ Nanni Moretti’s Il Caimano. Studies in European Cinemahttp://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/abs/10.1386/seci.6.2-3.141/1
90
Mazierska E, Rascaroli L. The cinema of Nanni Moretti: dreams and diaries. London: : Wallflower 2004.
91
Bonsaver G. The egocentric Cassandra of the left: Representations of politics in the films of Nanni Moretti. The Italianist 2001;21:158–83. doi:10.1179/ita.2001.21.1.158
92
Dalle Vacche A. The body in the mirror: shapes of history in Italian cinema. Princeton, N.J.: : Princeton University Press 1992.
93
Bertellini G. The cinema of Italy. London: : Wallflower 2004.
94
Tonetti C. Bernardo Bertolucci: the cinema of ambiguity. New York: : Twayne 1995.
95
Loshitzky Y. The radical faces of Godard and Bertolucci. Detroit: : Wayne State University Press 1995.
96
Wagstaff C. Il conformista (The conformist). London: : Palgrave Maxmillan 2012.
97
Rigoletto S. Contesting National Memory: Masculine Dilemmas and Oedipal Scenarios in Bernardo Bertolucci’s                              and. Italian Studies 2012;67:120–42. doi:10.1179/174861812X13202431699994
98
Kolker RP, British Film Institute. Bernardo Bertolucci. London: : British Film Institute 1985.
99
Áine O’Healy. Re-envisioning Moravia: Godard’s ‘Le Mépris’ and Bertolucci’s ‘Il conformista’. Annali d’Italianistica 1988;6:148–61.http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/24004195
100
Conformista, Il/The Conformist. Sight and Sound;4:303–12.https://search.proquest.com/fiaf/docview/1305513920/EC783ABFC22142E8PQ/5?accountid=14888
101
HEYER-CAPUT, MARGHERITA1. For a Cinema of Inbetween-ness: Emanuele Crialese’s Nuovomondo (2006). Italica 2013;90:272–85.http://0-search.ebscohost.com.pugwash.lib.warwick.ac.uk/login.aspx?direct=true&db=ehh&AN=86740270&site=eds-live&group=trial
102
Cincinelli S. I migranti nel cinema italiano. Roma (Italia): : Kappa 2009.
103
Fredric Jameson. On Magic Realism in Film. Critical Inquiry 1986;12:301–25.http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1343476
104
Zagarrio V. Not Even in a Dream. Emigration and immigration in new Italian cinema. Journal of Italian Cinema & Media Studies 2016;4:421–38. doi:10.1386/jicms.4.3.421_1
105
Bonsaver, Guido. Golden Door. Sight and Sound;17:16–8.https://0-search-proquest-com.pugwash.lib.warwick.ac.uk/docview/237120145/fulltext/506256B4BAD54C8APQ/2?accountid=14888
106
Borroni, Chiara. C’era una volta la Terra Promessa. Cineforum;46:43–6.https://0-search-proquest-com.pugwash.lib.warwick.ac.uk/docview/223108000/fulltextPDF/5E095EE93DC54D54PQ/16?accountid=14888