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Bondanella, P.E. (2014a) The Italian cinema book. London: British Film Insitute.
Bondanella, P.E. (2014b) The Italian cinema book. London: British Film Insitute.
Bonsaver, G. (2001) ‘The egocentric Cassandra of the left: Representations of politics in the films of Nanni Moretti’, The Italianist, 21(1), pp. 158–183. Available at: https://doi.org/10.1179/ita.2001.21.1.158.
Bonsaver, Guido (no date a) ‘Golden Door’, Sight and Sound, 17, pp. 16–18. Available at: https://0-search-proquest-com.pugwash.lib.warwick.ac.uk/docview/237120145/fulltext/506256B4BAD54C8APQ/2?accountid=14888.
Bonsaver, Guido (no date b) ‘The Rome cell’, Sight and Sound, 14, pp. 28–29. Available at: https://0-search-proquest-com.pugwash.lib.warwick.ac.uk/docview/237109869/A7CD559232F34125PQ/1?accountid=14888.
Bordwell, D., Thompson, K. and Smith, J. (2017) Film art: an introduction. 11th ed. New York: McGraw-Hill Education.
Borroni, Chiara (no date) ‘C’era una volta la Terra Promessa’, Cineforum, 46, pp. 43–46. Available at: https://0-search-proquest-com.pugwash.lib.warwick.ac.uk/docview/223108000/fulltextPDF/5E095EE93DC54D54PQ/16?accountid=14888.
Branigan, E. (1984) Point of view in the cinema: a theory of narration and subjectivity in classical film. Berlin: Mouton. Available at: 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, F. (2011) Popular Italian cinema: culture and politics in a postwar society. London: I.B. Tauris.
Brook, C.J. (2009) Marco Bellocchio: the cinematic I in the political sphere. Toronto: University of Toronto Press.
Brunetta, G.P. (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, G.P. (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, P. (1987) Roberto Rossellini. New York: Oxford University Press.
Cantini, M. (ed.) (2013) Italian women filmmakers and the gendered screen. New York: Palgrave Macmillan. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2722192.
Celli, C. and Cottino-Jones, M. (2007) A new guide to Italian cinema. 1st ed. New York: Palgrave Macmillan. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2908952.
Chaudhuri, S. (2006) Feminist film theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. London: Routledge.
Cincinelli, S. (2009a) I migranti nel cinema italiano. Roma (Italia): Kappa.
Cincinelli, S. (2009b) I migranti nel cinema italiano. Roma (Italia): Kappa.
‘Conformista, Il/The Conformist’ (no date) Sight and Sound, 4, pp. 303–312. Available at: https://search.proquest.com/fiaf/docview/1305513920/EC783ABFC22142E8PQ/5?accountid=14888.
Dalle Vacche, A. (1992a) The body in the mirror: shapes of history in Italian cinema. Princeton, N.J.: Princeton University Press.
Dalle Vacche, A. (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), pp. 392–407. Available at: 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), pp. 219–244. Available at: http://0-search.ebscohost.com.pugwash.lib.warwick.ac.uk/login.aspx?direct=true&db=edb&AN=51318207&site=eds-live&group=trial.
D’Onofrio, Emanuele (2010b) ‘Percorsi di identità narrativa nella memoria difficile: La musica in I cento passi e Buongiorno, notte.’, , 30(2), pp. 219–244. Available at: http://0-search.ebscohost.com.pugwash.lib.warwick.ac.uk/login.aspx?direct=true&db=edb&AN=51318207&site=eds-live&group=trial.
Drake, R. (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), pp. 114–125. Available at: http://0-search.ebscohost.com.pugwash.lib.warwick.ac.uk/login.aspx?direct=true&db=hia&AN=20914367&site=eds-live&group=trial.
Filippelli, S. (2015) ‘Tutto parla di te: La trilogia materna di Alina Marazzi’, The Italianist, 35(2), pp. 272–283. Available at: https://doi.org/10.1179/0261434015Z.000000000120.
Forgacs, D. et al. (2000) Roberto Rossellini: magician of the real. London: bfi Publishing.
Fredric Jameson (1986) ‘On Magic Realism in Film’, Critical Inquiry, 12(2), pp. 301–325. Available at: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1343476.
Glynn, R. et al. (2012a) Terrorism, Italian style: representations of political violence in contemporary Italian cinema. London: Institute of Germanic & Romance Studies, School of Advanced Study, University of London.
Glynn, R. et al. (2012b) Terrorism, Italian style: representations of political violence in contemporary Italian cinema. London: Institute of Germanic & Romance Studies, School of Advanced Study, University of London.
Greene, N. (1990) Pier Paolo Pasolini: cinema as heresy. Princeton, N.J.: Princeton University Press.
Gundle, S. and Rinaldi, L. (2007) Assassinations and murder in modern Italy: transformations in society and culture. 1st ed. New York, N.Y.: Palgrave Macmillan. Available at: 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), pp. 272–285. Available at: http://0-search.ebscohost.com.pugwash.lib.warwick.ac.uk/login.aspx?direct=true&db=ehh&AN=86740270&site=eds-live&group=trial.
Kolker, R.P. and British Film Institute (1985) Bernardo Bertolucci. London: British Film Institute.
Landy, M. (2000a) Italian film. Cambridge: Cambridge University Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2799473.
Landy, M. (2000b) Italian film. Cambridge: Cambridge University Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2799473.
Landy, M. (2000c) Italian film. Cambridge: Cambridge University Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2799473.
Lee, Marshall (no date) ‘The Silvio lining’, Sight and Sound, 16, pp. 20–24. Available at: https://0-search-proquest-com.pugwash.lib.warwick.ac.uk/docview/237117868/BB8505061D6A4FC6PQ/1?accountid=14888.
Lombardi, G. and Uva, C. (eds) (2016a) Italian political cinema: public life, imaginary, and identity in contemporary Italian film. Bern: Peter Lang.
Lombardi, G. and Uva, C. (eds) (2016b) Italian political cinema: public life, imaginary, and identity in contemporary Italian film. Bern: Peter Lang. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3142447.
Lombardi, G. and Uva, C. (eds) (2016c) Italian political cinema: public life, imaginary, and identity in contemporary Italian film. Bern: Peter Lang. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3142447.
Lombardi, G. and Uva, C. (eds) (2016d) Italian political cinema: public life, imaginary, and identity in contemporary Italian film. Bern: Peter Lang.
Loshitzky, Y. (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), pp. 596–608. Available at: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/27669108.
Luciano, B. and Scarparo, S. (2013) Reframing Italy: new trends in Italian women’s filmmaking. West Lafayette, Indiana: Purdue University Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3002040.
Marcus, M.J. (1986) Italian film in the light of neorealism. Princeton, N.J.: Princeton University Press.
Marcus, M.J. (2002a) After Fellini: national cinema in the postmodern age. Baltimore, Md: Johns Hopkins University Press.
Marcus, M.J. (2002b) After Fellini: national cinema in the postmodern age. Baltimore, Md: Johns Hopkins University Press.
Marcus, M.J. (2002c) After Fellini: national cinema in the postmodern age. Baltimore, Md: Johns Hopkins University Press.
Maura Bergonzoni (no date) ‘Alina Marazzi’s Un’ora sola ti vorrei and Vogliamo anche le rose: The personal stands for the political’, Studies in Documentary Film [Preprint]. Available at: http://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/abs/10.1386/sdf.5.2-3.247_7.
Mazierska, E. and Rascaroli, L. (2004) The cinema of Nanni Moretti: dreams and diaries. London: Wallflower.
Millicent Marcus (no date) ‘Palimpsest versus Pastiche: Revisiting Neo-realism in the 1990s’, Annali, pp. 56–68. Available at: 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, L. (2008) Visual and other pleasures. 2nd ed. Basingstoke: Palgrave Macmillan.
Nathan, V. (2017) Marvelous bodies: Italy’s new migrant cinema. West Lafayette, Indiana: Purdue University Press.
Nowell-Smith, G., Hay, J. and Volpi, G. (1996) The companion to Italian cinema. London: Cassell.
O’Leary, A. (2011) Tragedia all’italiana: Italian cinema and Italian terrorisms, 1970-2010 [electronic resource]. Oxford: Peter Lang. Available at: http://ebookcentral.proquest.com/lib/warw/detail.action?docID=1053995.
O’Leary, Alan (2010) ‘Italian cinema and the “anni di piombo.”.’, Journal of European Studies., 40(3), pp. 243–257. Available at: https://doi.org/10.1177/0047244110371912.
Orr, Christopher (no date) ‘Pasolini’s Accattone, or Naturalism and Its Discontents’, Film Criticism (ARCHIVE), 19, pp. 54–66. Available at: https://search.proquest.com/fiaf/docview/222721684/916415B323B34509PQ/1?accountid=14888.
Pasolini, P.P. (1972) Empirismo eretico. Milano: Garzanti.
Paul Sutton (no date) ‘“Say Something Left-Wing!” Nanni Moretti’s Il Caimano’, Studies in European Cinema [Preprint]. Available at: http://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/abs/10.1386/seci.6.2-3.141/1.
Rascaroli, L. (2005) ‘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, pp. 251–272. Available at: https://contentstore.cla.co.uk/secure/link?id=aa20b7ae-58f1-e711-80cd-005056af4099.
Rascaroli, L., Monahan, B. and Young, G. (2014) Amateur filmmaking: the home movie, the archive, the web. New York: Bloomsbury Academic.
Renga, D. (2013) Unfinished business: screening the Italian Mafia in the new millennium. Toronto: University of Toronto Press.
Rhodes, J.D. (2007) Stupendous, miserable city: Pasolini’s Rome. Minneapolis: University of Minnesota Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2917414.
Rigoletto, S. (2012) ‘Contesting National Memory: Masculine Dilemmas and Oedipal Scenarios in Bernardo Bertolucci’s and’, Italian Studies, 67(1), pp. 120–142. Available at: https://doi.org/10.1179/174861812X13202431699994.
Rohdie, S. (1995) The passion of Pier Paolo Pasolini. London: BFI Publishing.
Rossellini, R. and Aprà, A. (1987) Il mio metodo: scritti e interviste. 2a ed. riveduta a ampliata. Venezia: Marsilio.
Ruberto, L.E. and Wilson, K.M. (2007) Italian neorealism and global cinema. Detroit: Wayne State University Press.
Rumble, P.A. and Testa, B. (1994) Pier Paolo Pasolini: contemporary perspectives. Toronto: University of Toronto Press.
Schoonover, K. (2012) Brutal vision: the neorealist body in postwar Italian cinema. Minneapolis: University of Minnesota Press. Available at: 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, L. (1978) L’affaire Moro. Palermo: Sellerio.
Silverman, K. (1988) The acoustic mirror: the female voice in psychoanalysis and cinema. Bloomington: Indiana University Press.
Sitney, P.A. (2013a) Vital crises in Italian cinema: iconography, stylistics, politics. 1st paperback ed. New York: Oxford University Press.
Sitney, P.A. (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), pp. 41–54. Available at: https://search.proquest.com/fiaf/docview/1745786463/BB4929D986AD4971PQ/4?accountid=14888.
Sorlin, P. (1996) Italian national cinema, 1896-1996. London: Routledge. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2552589.
Stefania Benini (no date) ‘“A face, a name, a story”: Women’s identities as life stories in Alina Marazzi’s cinema’, Studies in European Cinema [Preprint]. Available at: 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), pp. 488–503. Available at: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/25780742?seq=1#page_scan_tab_contents.
Tagliani, G. (2014) ‘Depicting life, analysing the power: The “actuality” of Italian cinema’, Journal of Italian Cinema & Media Studies, 2(2), pp. 199–214. Available at: 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). Available at: http://ojs.cf.ac.uk/index.php/newreadings/article/view/21/16.
Tonetti, C. (1995) Bernardo Bertolucci: the cinema of ambiguity. New York: Twayne.
Viano, M.S. (1993) A certain realism: making use of Pasolini’s film theory and practice. Berkeley: University of California Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2755041.
Vighi, F. (2006a) Traumatic encounters in Italian film: locating the cinematic unconscious [electronic resource]. Bristol, U.K.: Intellect. Available at: http://ebookcentral.proquest.com/lib/warw/detail.action?docID=282969.
Vighi, F. (2006b) Traumatic encounters in Italian film: locating the cinematic unconscious [electronic resource]. Bristol, U.K.: Intellect. Available at: http://ebookcentral.proquest.com/lib/warw/detail.action?docID=282969.
Wagstaff, C. (2007) Italian neorealist cinema: an aesthetic approach. Toronto: University of Toronto Press. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb3102065.
Wagstaff, C. (2012) Il conformista (The conformist). London: Palgrave Maxmillan.
Willemen, P. and British Film Institute (1977) Pier Paolo Pasolini. London: British Film Institute.
Wood, M.P. (2005a) Italian cinema. English ed. Oxford: Berg.
Wood, M.P. (2005b) Italian cinema. English ed. Oxford: Berg.
Zagarrio, V. (2016) ‘Not Even in a Dream. Emigration and immigration in new Italian cinema’, Journal of Italian Cinema & Media Studies, 4(3), pp. 421–438. Available at: https://doi.org/10.1386/jicms.4.3.421_1.
Zambenedetti, A. (2006) ‘Multiculturalism in New Italian Cinema’, Studies in European Cinema, 3(2). Available at: http://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/abs/10.1386/seci.3.2.105_1.
