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History of Italian Cinema:The Legacy of Neo-Realism | University of Kent 09/30/21 History of Italian Cinema:The Legacy of Neo-Realism | University of Kent History of Italian Cinema:The Legacy of View Online Neo-Realism Amelio, G. (2011). The Stolen Children / Il ladro di bambini: Vol. Arrow Classics. Arrow Films. Arena: The Life and Times of Visconti. (2003). BBC 2. Armes, R. (1971a). 9. La terra trema & 10. The Critical Realism of Luchino Visconti. In Patterns of Realism. A. S. Barnes. Armes, R. (1971b). Patterns of Realism. A. S. Barnes. Armes, R. (1971c). Patterns of Realism. A. S. Barnes. Bacon, H. (1998). Visconti and Neorealism. In Visconti: Explorations of Beauty and Decay. Cambridge University Press. Bazin, A. (2011a). 5. La terra trema. In André Bazin and Italian Neorealism. Continuum. https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://sid.kent.ac.uk/shib boleth&dest=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9 781441167101 Bazin, A. (2011b). 13: Umberto D.: A Great Work. In André Bazin and Italian Neorealism. Continuum. https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://sid.kent.ac.uk/shib boleth&dest=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9 781441167101 Bazin, A., & Cardullo, B. (2011). André Bazin and Italian Neorealism. Continuum. http://www.vlebooks.com/vleweb/product/openreader?id=KentUniv&isbn=9781441167101 Bondanella, P. (1993a). Paisà and the Rejection of Traditional Narrative Cinema. In The Films of Roberto Rossellini: Vol. Cambridge film classics. Cambridge University Press. Bondanella, P. (1993b). Roma città aperta and the Birth of Italian Neorealism. In The films of Roberto Rossellini: Vol. Cambridge film classics. Cambridge University Press. 1/6 09/30/21 History of Italian Cinema:The Legacy of Neo-Realism | University of Kent Bondanella, P. (1993c). Viaggio in Italia: Ingrid Bergman and a New Cinema of Psychological Introspection. In The Films of Roberto Rossellini: Vol. Cambridge film classics . Cambridge University Press. Bondanella, P. (1999). Italian Neorealism. In A History of Italian Cinema (pp. 61–158). Continuum. Bordwell, D., & Thompson, K. (2013a). Film Art: an Introduction (International edition, ninth edition). McGraw-Hill. Bordwell, D., & Thompson, K. (2013b). Film art: an introduction (Tenth edition, International edition). McGraw-Hill Higher Education. Brunetta, G. P. (2009). From Neorealism to La dolce vita. In The History of Italian Cinema. Princeton University Press. Brunette, P. (1987a). Paisan. In Roberto Rossellini. O.U.P. Brunette, P. (1987b). Voyage to Italy. In Roberto Rossellini. O.U.P. Brunette, P. (1996). Open City. In Roberto Rossellini. University of California Press. Celli, C. (2004). Ladri di biciclette / The Bicycle Thieves. In The Cinema of Italy: Vol. 24 frames. Wallflower. Celli, C., & Cottino-Jones, M. (2007). A New Guide to Italian Cinema: Vol. Italian and Italian American studies (First edition). Palgrave Macmillan. http://www.loc.gov/catdir/enhancements/fy0659/2006044820-b.html Christopher Wagstaff. (2000). Rossellini and Neorealism. In Roberto Rossellini: Magician of the Real. British Film Institute. Corrigan, T. (2014). A Short Guide to Writing about Film: Vol. Pearson custom library (Pearson new international edition). Pearson. http://www.vlebooks.com/vleweb/product/openreader?id=KentUniv&isbn=9781292056326 David Overbey. (1978). Springtime in Italy: a Reader on Neo-realism. Talisman Books. De Sanctis, P., Monetti, D., & Pallanch, L. (n.d.). Non solo Gomorra: tutto il cinema di Matteo Garrone: Vol. Cinema italiano (1. edizione). De Sica, V. (1948). The bicycle thieves. Produzioni De Sica S.A. De Sica, V. (1952). Umberto D.: Vol. DVD videos. Mediaset. De Sica, V., & De Sica, V. (2012). Miracle in Milan. Arrow Films. Forgacs, David, & British Film Institute. (2000). Rome open city = Roma citta ̀ aperta: Vol. BFI film classics. BFI Pub. 2/6 09/30/21 History of Italian Cinema:The Legacy of Neo-Realism | University of Kent Gallagher, T. (1998a). Neorealism = ∞ (Some More Theory). InThe Adventures of Roberto Rossellini. Da Capo Press. Gallagher, T. (1998b). Open City. In The Adventures of Roberto Rossellini. Da Capo Press. Gallagher, T. (1998c). Paisà. In The Adventures of Roberto Rossellini. Da Capo Press. Gallagher, T. (1998d). Voyage in Italy. In The Adventures of Roberto Rossellini. Da Capo Press. Garrone, M. (2008). Gomorrah. Fandango Produzione Cinematografica, Rai Cinema. Gordon, R. S. C., & British Film Institute. (2008). Bicycle thieves =: (Ladri di biciclette): Vol. BFI film classics. Palgrave Macmillan. Gottlieb, Sidney. (2004). Roberto Rossellini’s Rome Open City: Vol. Cambridge University Press film handbooks series. Cambridge University Press. Haaland, T. (2012a). Italian neorealist cinema: Vol. Traditions in world cinema. Edinburgh University Press. https://ebookcentral.proquest.com/lib/kentuk/detail.action?docID=1126567 Haaland, T. (2012b). Rossellini’s Cities of War and Resistance. In Italian neorealist cinema: Vol. Traditions in world cinema. Edinburgh University Press. http://kentuk.eblib.com/patron/FullRecord.aspx?p=1126567 Haaland, T. (2012c). The Journey beyond Neorealism. In Italian neorealist cinema: Vol. Traditions in world cinema. Edinburgh University Press. http://kentuk.eblib.com/patron/FullRecord.aspx?p=1126567 Haaland, T. (2012d). Visconti’s Worlds of Aestheticism and Ideology. In Italian neorealist cinema: Vol. Traditions in world cinema. Edinburgh University Press. http://kentuk.eblib.com/patron/FullRecord.aspx?p=1126567 Haaland, T. (2012e). Wandering among De Sica’s Urbanites. In Italian neorealist cinema: Vol. Traditions in world cinema. Edinburgh University Press. http://kentuk.eblib.com/patron/FullRecord.aspx?p=1126567 Landy, M. (2005). Rome Open City. In Film Analysis: A Norton Reader (First edition). W.W. Norton. Landy, Marcia. (2000). Italian Film: Vol. National film traditions. Cambridge University Press. Lawton, B. (1996). Salvatore Giuliano: Francesco Rosi’s Revolutionary Postmodernism. In Poet of Civic Courage: the Films of Francesco Rosi: Vol. Cinema voices. Flicks. MacCann, R. D. (1966). Some Ideas on the Cinema. In Film: a montage of theories: Vol. A Dutton paperback. E. P. Dutton & co., Inc. Marcus, M. (1986a). De Sica’s Bicycle Thief: Casting Shadows on the Visionary City. In Italian Film in the Light of Neorealism (pp. 54–75). Princeton University Press. 3/6 09/30/21 History of Italian Cinema:The Legacy of Neo-Realism | University of Kent Marcus, M. (1986b). De Sica’s Umberto D.: Dark Victory for Neorealism. In Italian Film in the Light of Neorealism. Princeton University Press. Marcus, M. (1986c). Rossellini’s Open City: The Founding. In Italian Film in the Light of Neorealism. Princeton University Press. Marcus, M. (1993). Visconti’s La terra trema. In Filmmaking by the Book: Italian Cinema and Literary Adaptation. Johns Hopkins University Press. Marcus, M. (2007). In Memoriam: The Neorealism Legacy in the Contemporary Sicilian Anti-Mafia Film. In Italian Neorealism and Global Cinema: Vol. Contemporary approaches to film and television series (pp. 290–306). Wayne State University Press. http://www.loc.gov/catdir/toc/ecip072/2006033483.html Megan Ratner. (2009). The Gomorrah Doctrine. Film Quarterly, 62(4), 77–79. http://www.jstor.org.chain.kent.ac.uk/stable/10.1525/fq.2009.62.4.77 Michael Covino. (2009). La Malavita: Gomorrah and Naples. Film Quarterly, 62(4), 72–75. http://www.jstor.org.chain.kent.ac.uk/stable/10.1525/fq.2009.62.4.72 Michalczyk, J. J. (1986). Francesco Rosi: The Dialectical Cinema. In The Italian Political Filmmakers. Fairleigh Dickinson U.P. Millicent Marcus. (1986). Italian Film in the Light of Neorealism. Princeton University Press. Mira Liehm. (1984). Passion and Defiance: Film in Italy from 1942 to the Present. California U.P. Mulvey, L. (2000). Vesuvian Topographies: The Eruption of the Past in Journey to Italy. In Roberto Rossellini: Magician of the Real. British Film Institute. Muscio, G. (2004). Paisà. In The Cinema of Italy: Vol. 24 frames. Wallflower. Nowell-Smith, G. (2003). La terra trema. In Luchino Visconti (Third edition). British Film Institute. Nowell-Smith, G. (2005). Bicycle Thieves. In Film Analysis: a Norton Reader (First edition). W.W. Norton. Overbey, D. (1978). Springtime in Italy: Introduction. In Springtime in Italy: A Reader on Neo-realism. Talisman Books. Paul Ginsborg. (1990). A History of Contemporary Italy: Society and Politics, 1943-1988: Vol. Penguin history. Penguin Books. Perez, G. (2000). Umberto D. and Realism. In Vittorio de Sica: contemporary perspectives: Vol. Toronto Italian studies. University of Toronto Press. Porton, Richard. (2009). Inside ‘The System’: An Interview with Matteo Garrone. Cineaste, 34(2), 12–15. http://search.ebscohost.com.chain.kent.ac.uk/login.aspx?direct=true&db=a9h&AN=36829 4/6 09/30/21 History of Italian Cinema:The Legacy of Neo-Realism | University of Kent 091&site=ehost-live Rosi, F. (1961a). Salvatore Giuliano: Vol. The criterion collection. Lux Film (Rome), Galatea. Rosi, F. (1961b). Salvatore Giuliano: Vol. The criterion collection. Lux Film (Rome), Galatea. Rosi, F. (2014). Le mani sulla citta: Hands over the city: Vol. The masters of cinema series (Special dual format edition). Eureka Entertainment Ltd. Rossellini, R. (n.d.-a). Criterion Collection: Rossellini’s War Trilogy. Rossellini, R. (n.d.-b). Criterion Collection: Rossellini’s War Trilogy. Rossellini, R. (n.d.-c). Roma città aperta / Rome, Open City. Arrow Films. Rossellini, R. (1946). Paisà. O.F.I., F.F.P. Rossellini, R. (1948). Germany Year Zero /
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