Bibliography for IT313: Italian Cinema I: Envisioning the Nation BETA

Áine O’Healy. 1988. ‘Re-Envisioning Moravia: Godard’s “Le Mépris” and Bertolucci’s “Il Conformista”’. Annali d’Italianistica 6: 148–61. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/24004195.

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. http://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/abs/10.1386/sdf.5.2-3.83_7.

Antonello, Pierpaolo, and Florian Mussgnug. 2009. Postmodern Impegno: Ethics and Commitment in Contemporary Italian Culture. Vol. v. 4. Oxford: Peter Lang. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2876308.

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.

———. 2004b. The Cinema of Italy. London: Wallflower.

———. 2004c. The Cinema of Italy. Vol. 24 frames. London: Wallflower.

———. 2004d. The Cinema of Italy. Vol. 24 frames. London: Wallflower.

———. 2004e. The Cinema of Italy. London: Wallflower.

Bondanella, Peter. 1993. The Films of Roberto Rossellini. Vol. Cambridge film classics. Cambridge: Cambridge University Press. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2789126.

Bondanella, Peter E. 2001a. Italian Cinema: From Neorealism to the Present. 3rd ed. New York: Continuum.

———. 2001b. Italian Cinema: From Neorealism to the Present. 3rd ed. New York: Continuum.

———. 2014a. The Italian Cinema Book. London: British Film Insitute.

———. 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. https://doi.org/10.1179/ita.2001.21.1.158.

Bonsaver, Guido. n.d. ‘Golden Door’. Sight and Sound 17: 16–18. https://0-search-proquest-com.pugwash.lib.warwick.ac.uk/docview/237120145/fulltext/506256B4BAD54C8APQ/2?accountid=14888.

———. n.d. ‘The Rome Cell’. Sight and Sound 14: 28–29. https://0-search-proquest-com.pugwash.lib.warwick.ac.uk/docview/237109869/A7CD559232F34125PQ/1?accountid=14888.

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. https://0-search-proquest-com.pugwash.lib.warwick.ac.uk/docview/223108000/fulltextPDF/5E095EE93DC54D54PQ/16?accountid=14888.

Branigan, Edward. 1984. Point of View in the Cinema: A Theory of Narration and Subjectivity  in Classical Film. Vol. Approaches to semiotics. Berlin: Mouton. 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=-.

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.

———. 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. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2722192.

Celli, Carlo, and Marga Cottino-Jones. 2007. A New Guide to Italian Cinema. 1st ed. Vol. Italian and Italian American studies. New York: Palgrave Macmillan. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2908952.

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.

———. 2009b. I Migranti Nel Cinema Italiano. Roma (Italia): Kappa.

‘Conformista, Il/The Conformist’. n.d. Sight and Sound 4: 303–12. https://search.proquest.com/fiaf/docview/1305513920/EC783ABFC22142E8PQ/5?accountid=14888.

Dalle Vacche, Angela. 1992a. The Body in the Mirror: Shapes of History in Italian Cinema. Princeton, N.J.: Princeton University Press.

———. 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. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/40505896.

D’Onofrio, Emanuele. 2010a. ‘Percorsi Di Identità Narrativa Nella Memoria Difficile: La Musica in I Cento Passi e Buongiorno, Notte.’ , 30 (2): 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.

———. 2010b. ‘Percorsi Di Identità Narrativa Nella Memoria Difficile: La Musica in I Cento Passi e Buongiorno, Notte.’ , 30 (2): 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.

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. http://0-search.ebscohost.com.pugwash.lib.warwick.ac.uk/login.aspx?direct=true&db=hia&AN=20914367&site=eds-live&group=trial.

Filippelli, Sara. 2015. ‘Tutto Parla Di Te: La Trilogia Materna Di Alina Marazzi’. The Italianist 35 (2): 272–83. https://doi.org/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. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1343476.

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.

———. 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. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2327037.

HEYER-CAPUT, MARGHERITA1. 2013. ‘For a Cinema of Inbetween-Ness: Emanuele Crialese’s Nuovomondo (2006).’ Italica. 90 (2): 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.

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. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2799473.

———. 2000b. Italian Film. Vol. National film traditions. Cambridge: Cambridge University Press. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2799473.

———. 2000c. Italian Film. Vol. National film traditions. Cambridge: Cambridge University Press. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2799473.

Lee, Marshall. n.d. ‘The Silvio Lining’. Sight and Sound 16: 20–24. https://0-search-proquest-com.pugwash.lib.warwick.ac.uk/docview/237117868/BB8505061D6A4FC6PQ/1?accountid=14888.

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.

———, eds. 2016b. Italian Political Cinema: Public Life, Imaginary, and Identity in Contemporary Italian Film. Vol. volume 1. Bern: Peter Lang. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3142447.

———, eds. 2016c. Italian Political Cinema: Public Life, Imaginary, and Identity in Contemporary Italian Film. Vol. volume 1. Bern: Peter Lang. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3142447.

———, 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. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/27669108.

Luciano, Bernadette, and Susanna Scarparo. 2013. Reframing Italy: New Trends in Italian Women’s Filmmaking. Vol. volume 59. West Lafayette, Indiana: Purdue University Press. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3002040.

Marcus, Millicent Joy. 1986. Italian Film in the Light of Neorealism. Princeton, N.J.: Princeton University Press.

———. 2002a. After Fellini: National Cinema in the Postmodern Age. Baltimore, Md: Johns Hopkins University Press.

———. 2002b. After Fellini: National Cinema in the Postmodern Age. Baltimore, Md: Johns Hopkins University Press.

———. 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. http://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/abs/10.1386/sdf.5.2-3.247_7.

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. http://0-search.ebscohost.com.pugwash.lib.warwick.ac.uk/login.aspx?direct=true&db=edsjsr&AN=edsjsr.24007364&site=eds-live&group=trial.

Mulvey, Laura. 2008. Visual and Other Pleasures. 2nd ed. Vol. Language, discourse, society. 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. https://doi.org/10.1177/0047244110371912.

O’Leary, Alan. 2011. Tragedia All’italiana: Italian Cinema and Italian Terrorisms, 1970-2010. Electronic resource. Vol. v. 9. Oxford: Peter Lang. http://ebookcentral.proquest.com/lib/warw/detail.action?docID=1053995.

Orr, Christopher. n.d. ‘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.

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. http://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/abs/10.1386/seci.6.2-3.141/1.

Rascaroli, Laura. 2005. ‘Carlo Mazzacurati, Silvio Soldini, and Gianni Amelio: Highways, Side Roads, and Borderlines – the New Italian Road Movie’. In Italian Cinema: New Directions, 251–72. New York: Peter Lang. https://contentstore.cla.co.uk/secure/link?id=aa20b7ae-58f1-e711-80cd-005056af4099.

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. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2917414.

Rigoletto, Sergio. 2012. ‘Contesting National Memory: Masculine Dilemmas and Oedipal Scenarios in Bernardo Bertolucci’s                            and’. Italian Studies 67 (1): 120–42. https://doi.org/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. 2a ed. riveduta a ampliata. Vol. Cinema. 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. 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.

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.

———. 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. https://search.proquest.com/fiaf/docview/1745786463/BB4929D986AD4971PQ/4?accountid=14888.

Sorlin, Pierre. 1996. Italian National Cinema, 1896-1996. Vol. National cinemas. London: Routledge. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2552589.

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. http://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/abs/10.1386/seci.8.2.129_1.

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. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/25780742?seq=1#page_scan_tab_contents.

Tagliani, Giacomo. 2014. ‘Depicting Life, Analysing the Power: The “Actuality” of Italian Cinema’. Journal of Italian Cinema & Media Studies 2 (2): 199–214. https://doi.org/10.1386/jicms.2.2.199_1.

‘The Sight and Sound of Albanian Migration in Contemporary Italian Cinema’. 2011. New Readings 8 (1). http://ojs.cf.ac.uk/index.php/newreadings/article/view/21/16.

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. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2755041.

Vighi, Fabio. 2006a. Traumatic Encounters in Italian Film: Locating the Cinematic Unconscious. Electronic resource. Bristol, U.K.: Intellect. http://ebookcentral.proquest.com/lib/warw/detail.action?docID=282969.

———. 2006b. Traumatic Encounters in Italian Film: Locating the Cinematic Unconscious. Electronic resource. Bristol, U.K.: Intellect. http://ebookcentral.proquest.com/lib/warw/detail.action?docID=282969.

Wagstaff, Christopher. 2007. Italian Neorealist Cinema: An Aesthetic Approach. Vol. Toronto Italian studies. Toronto: University of Toronto Press. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3102065.

———. 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.

———. 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. https://doi.org/10.1386/jicms.4.3.421_1.

Zambenedetti, Alberto. 2006. ‘Multiculturalism in New Italian Cinema’. Studies in European Cinema 3 (2). http://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/abs/10.1386/seci.3.2.105_1.