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 [Internet]. Vol. National film traditions. Cambridge: Cambridge University Press; 2000. Available from: 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 [Internet]. Vol. Cambridge film classics. Cambridge: Cambridge University Press; 1993. Available from: 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. Vol. Cinema. Venezia: Marsilio; 1987.
10.
Wagstaff C. Italian neorealist cinema: an aesthetic approach [Internet]. Vol. Toronto Italian studies. Toronto: University of Toronto Press; 2007. Available from: 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 [Internet]. Vol. National film traditions. Cambridge: Cambridge University Press; 2000. Available from: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2799473
13.
Bertellini G. The cinema of Italy. Vol. 24 frames. London: Wallflower; 2004.
14.
Deborah Amberson. Battling History: Narrative Wars in Roberto Rossellini’s Paisà. Italica [Internet]. 2009;86(3):392–407. Available from: 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, British Film Institute. Roberto Rossellini: magician of the real. London: bfi Publishing; 2000.
17.
Schoonover K. Brutal vision: the neorealist body in postwar Italian cinema [Internet]. Minneapolis: University of Minnesota Press; 2012. Available from: 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 [Internet]. Minneapolis: University of Minnesota Press; 2007. Available from: 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 [Internet]. Berkeley: University of California Press; 1993. Available from: 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) [Internet]. 19:54–66. Available from: 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 [Internet]. 2006;83(3):596–608. Available from: 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 [Internet]. 2011;8(1). Available from: http://ojs.cf.ac.uk/index.php/newreadings/article/view/21/16
31.
Bertellini G. The cinema of Italy. Vol. 24 frames. 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 [Internet]. New York: Peter Lang; 2005. p. 251–72. Available from: 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 [Internet]. 2006;3(2). Available from: 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. Vol. volume 1. 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. Vol. volume 70. 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 [Internet]. Vol. volume 1. Bern: Peter Lang; 2016. Available from: 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. Vol. 24 frames. 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 [Internet]. Vol. Approaches to semiotics. Berlin: Mouton; 1984. Available from: 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 [Internet]. 1st ed. Vol. Italian and Italian American studies. New York: Palgrave Macmillan; 2007. Available from: 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, University of London. Institute of Germanic & Romance Studies. 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; 2012.
50.
Landy M. Italian film [Internet]. Vol. National film traditions. Cambridge: Cambridge University Press; 2000. Available from: 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. Vol. Language, discourse, society. 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 [Internet]. Vol. National cinemas. London: Routledge; 1996. Available from: 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 [Internet]. :56–68. Available from: 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. , [Internet]. 2010;30(2):219–44. Available from: 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 [Internet]. 2005;III(1):41–54. Available from: https://search.proquest.com/fiaf/docview/1745786463/BB4929D986AD4971PQ/4?accountid=14888
62.
Vighi F. Traumatic encounters in Italian film: locating the cinematic unconscious [Internet]. Bristol, U.K.: Intellect; 2006. Available from: http://ebookcentral.proquest.com/lib/warw/detail.action?docID=282969
63.
Bonsaver, Guido. The Rome cell. Sight and Sound [Internet]. 14:28–9. Available from: 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. , [Internet]. 2010;30(2):219–44. Available from: 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, University of London. Institute of Germanic & Romance Studies. 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; 2012.
67.
O’Leary, Alan. Italian cinema and the ‘anni di piombo.’. Journal of European Studies [Internet]. 2010;40(3):243–57. Available from: http://0-search.ebscohost.com.pugwash.lib.warwick.ac.uk/login.aspx?direct=true&db=hia&AN=53373136&site=eds-live&group=trial
68.
O’Leary A. Tragedia all’italiana: Italian cinema and Italian terrorisms, 1970-2010 [Internet]. Vol. v. 9. Oxford: Peter Lang; 2011. Available from: http://ebookcentral.proquest.com/lib/warw/detail.action?docID=1053995
69.
Vighi F. Traumatic encounters in Italian film: locating the cinematic unconscious [Internet]. Bristol, U.K.: Intellect; 2006. Available from: 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. Vol. 80. Palermo: Sellerio; 1978.
72.
Drake, Richard1. The Aldo Moro Murder Case in Retrospect. Journal of Cold War Studies [Internet]. 2006;8(2):114–25. Available from: 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 [Internet]. Vol. volume 1. Bern: Peter Lang; 2016. Available from: 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 [Internet]. 1st ed. New York, N.Y.: Palgrave Macmillan; 2007. Available from: 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 [Internet]. 2011;5(2):83–9. Available from: 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 Film [Internet]. Available from: http://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 Cinema [Internet]. Available from: http://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 [Internet]. New York: Palgrave Macmillan; 2013. Available from: 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 [Internet]. 2015 Jun;35(2):272–83. Available from: http://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/full/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 [Internet]. 2010;87(3):488–503. Available from: 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 [Internet]. Vol. volume 59. West Lafayette, Indiana: Purdue University Press; 2013. Available from: 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. Vol. volume 1. Bern: Peter Lang; 2016.
86.
Antonello P, Mussgnug F. Postmodern impegno: ethics and commitment in contemporary Italian culture [Internet]. Vol. v. 4. Oxford: Peter Lang; 2009. Available from: 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 [Internet]. 2014 Jun 1;2(2):199–214. Available from: http://0-www.ingentaconnect.com.pugwash.lib.warwick.ac.uk/content/intellect/jicms/2014/00000002/00000002/art00004;jsessionid=p5essu8fgoix.x-ic-live-01
88.
Lee, Marshall. The Silvio lining. Sight and Sound [Internet]. 16:20–4. Available from: 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 Cinema [Internet]. Available from: http://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 [Internet]. 2001 Jun;21(1):158–83. Available from: http://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/abs/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 [Internet]. 2012 Mar;67(1):120–42. Available from: http://0-www.tandfonline.com.pugwash.lib.warwick.ac.uk/doi/full/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 [Internet]. 1988;6:148–61. Available from: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/24004195
100.
Conformista, Il/The Conformist. Sight and Sound [Internet]. 4:303–12. Available from: 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 [Internet]. 2013;90(2):272–85. Available from: 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 [Internet]. 1986;12(2):301–25. Available from: 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 [Internet]. 2016 Jul 1;4(3):421–38. Available from: http://0-www.ingentaconnect.com.pugwash.lib.warwick.ac.uk/contentone/intellect/jicms/2016/00000004/00000003/art00007
105.
Bonsaver, Guido. Golden Door. Sight and Sound [Internet]. 17:16–8. Available from: 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 [Internet]. 46:43–6. Available from: https://0-search-proquest-com.pugwash.lib.warwick.ac.uk/docview/223108000/fulltextPDF/5E095EE93DC54D54PQ/16?accountid=14888
