2023/2024 Spring Semester
Italian Neorealist Cinema
General Readings on Neorealist Italian Cinema
- Cardullo, Bert (ed.), André Bazin and Italian Neorealism (New York and London: Continuum, 2011)
- Haaland, Torunn, Italian Neorealist Cinema (Edinburgh: Edinburgh University Press, 2012)
- Milli Konewko, Simonetta, Neorealism and the 'New' Italy: Compassion in the Development of Italian Identity (New York: Palgrave Macmillan, 2016)
- Pacifici, Sergio J., "Notes toward a Definition of Neorealism," Yale French Studies, 17 (1956), pp.44-53.
- Schoonover, Karl, Brutal Vision: The Neorealist Body in Postwar Italian Cinema (Minnesota and London: University of Minnesota Press, 2012)
- Shiel, Mark, Italian Neorealism: Rebuilding the Cinematic City (London and New York: Wallflower/Columbia University Press, 2006)
- Wagstaff, Christopher, Italian Neorealist Cinema: An Aesthetic Approach (Toronto, Buffalo and London: University of Toronto Press, 2007)
Politics, Economy and Society in Post-War Italy
- Balbo, Laura and Marie P. May, "Woman's Condition: The Case of Postwar Italy," International Journal of Sociology, 5/4 (Winter 1975), pp.79-102.
- Carlyle, Margaret, Modern Italy (London: Hutchinson University Library, 1957)
- Fried, Robert C., "Urbanization and Italian Politics," The Journal of Politics, 29/3 (August 1967), pp.505-534.
- Miller, James E., "Taking Off the Gloves: The United States and the Italian Elections of 1948," Diplomatic History, 7/1 (Winter 1983), pp.35-55.
- Platt, Alan A. and Robert Leonardi, "American Foreign Policy and the Postwar Italian Left," Political Science Quarterly, 93/2 (Summer 1978), pp.197-215.
- Zariski, Raphael, Italy: The Politics of Uneven Development (Hinsdale: The Dryden Press, 1972)
- Cannon, JoAnn, "Resistance Heroes and Resisting Spectators: Reflections on Rossellini's Roma, città aperta," The Italianist, 17/1 (1997), pp.145-157
- Casty, Alan, "The Achievement of Roberto Rossellini," Film Comment, 2/4 (Fall 1965), pp.17-21.
- Chambless, Amy, "Revisiting the Resistance of Roberto Rossellini's Cinema," Romance Notes, 44/1 (Fall 2003), pp.31-39.
- Farrell, James T., "The Problem of Public Sensibility: A Review of the Film, The Open City," October, No.128 (Spring 2009), pp.69-83.
- Luzzi, Joseph, "Reassessing Rossellini: Restoration of Rome Open City, the Director's Masterpiece, Prompts a Look at Why He Later Retreated from the Neorealism He Introduced," The American Scholar, 80/1 (Winter 2011), pp.102-106.
- Marcus, Millicent, "Pina's Pregnancy, Traumatic Realism, and the After-Life of Open City," Italica, 85/4 (Winter 2008), pp.426-438.
- Rocchio, Vincent F., "Review of Sidney Gottlieb (ed), Roberto Rossellini's Rome Open City," Film Quarterly, 60/2 (Winter 2006), pp.59-60.
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- Cardullo, Bert, "Actor-Become-Auteur: The Neorealist Films of Vittorio De Sica," The Massachusetts Review, 41/2 (Summer2000), pp.173-192.
- Cardullo, Bert, "Boys' Life," The Hudson Review, 42/2 (Summer 1989), pp.290-298.
- Cardullo, Bert, "The Art of Shoeshine," in Howard Curle and Stephen Snyder (eds.), Vittorio De Sica: Contemporary Perspectives (Toronto, Buffalo and London: University of Toronto Press, 2000), pp.129-136.
- Kael, Pauline, "Shoeshine," in Howard Curle and Stephen Snyder (eds.), Vittorio De Sica: Contemporary Perspectives (Toronto, Buffalo and London: University of Toronto Press, 2000), pp.126-128.
- Bazin, André, "Bicycle Thieves," in Bert Cardullo (ed.), André Bazin and Italian Neorealism (New York: Continuum, 2011), pp.61-73.
- Ben-Ghiat, Ruth, "The Italian Cinema and the Italian Working Class," International Labor and Working-Class History, No.59 (Spring 2001), pp.36-51.
- Celli, Carlo, "The Legacy of Mario Camerini in Vittorio De Sica's The Bicycle Thief (1948)," Cinema Journal, 40/4 (Summmer 2001), pp.3-17.
- Fabbri, Lorenzo, "De Sica's Genre Trouble: Laughing Fascism Away?" Chapter 6 of his Cinema Is the Strongest Weapon: Race-Making and Resistance in Fascist Italy (Minneapolis: University of Minnesota Press, 2023), pp.169-197.
- Jacobson, Herbert L., "De Sica's Bicycle Thieves and Italian Humanism," Hollywood Quarterly, 4/1 (Autumn 1949), pp.28-33.
- Lawton, Ben, "Italian Neorealism: A Mirror Construction of Reality," Film Criticism, 3/2 (Winter 1979), pp.8-23.
- Tomasulo, Frank P., "Bicycle Thieves:A Re-Reading," Cinema Journal, 21/2 (Spring 1982), pp.2-13.
- Watson, William Van, "That Obscure Commodity of Desire: The Lure to Labor in Italian Film from the dopoguerra to the sorpasso," Annali d'Italianistica, 32 (2014), pp.369-392.
- West, Mark, "Holding Hands with a Bicycle Thief," in Howard Curle and Stephen Snyder (eds.), Vittorio De Sica: Contemporary Perspectives (Toronto, Buffalo and London: University of Toronto Press, 2000), pp.137-159.
- Lamberti, Elena, "Real Cities and Virtual Communities: Ford and the International Republic of Letters," International Ford Maddox Ford Studies, 4 (2005), pp.139.152.
- Moscardelli, M. G., "The Italian Cinema," East and West, 2/3 (October 1951), pp.171-180.
- Rascaroli, Laura, "Remapping the Neorealist Nation: Il cammino della speranza and the Rhetorics of the Road to Realism," Italian Studies, 65/3 (November 2010), pp.456-360.
- Tazzioli, Martina, "Towards a Genealogy of Migrant Struggles and Rescue: The Memory of Solidarity at the Alpine Border," Citizenship Studies, 25 (2021), pp.603-619.
- Venturi, Lauro, "Notes on Five Italian Films," Hollywood Quarterly, 5/4 (Summer 1951), pp.389-400.
- Basoli, A. G., "Screenwriting with Your Eyes: An Interview with Suso Cecchi d'Amico," Cinéaste, 27/4 (Fall 2002), pp.24-32.
- Chase, Donald, "Anna Magnani: Miracle Worker," Film Comment, 29/6 (November-December 1993), pp.42-47.
- Chiappetta-Miller, Tina, "Projecting the Diva's Voice: Anna Magnani in Visconti's Bellissima," Italian Studies, 70/3 (August 2015), pp.364-376.
- McCourt, James, "In Memoriam: Luchino Visconti," Film Comment, 12/3 (May-June 1976), pp.32-34.
- Marcus, Millicent, "Visconti's Bellissima: The Diva, the Mirror and the Screen," Italian Culture, 17/1 (1999), pp.9-17.
- Mitchell, Tony, "The Construction and Reception of Anna Magnani in Italy and the English-Speaking World, 1945-1988," Film Criticism, 14/1 (Fall 1989), pp.2-21.
- Pinna, G. Paola, "Sound in Visconti's Bellissima," The Italianist, 17/1 (1997), pp.158-175.
- Poggi, Gianfarnco, "Luchino Visconti and the Italian Cinema," Film Quarterly, 13/3 (Spring 1960), pp.11-22.
- Gorbman, Claudia, "Music as Salvation: Notes on Fellini and Rota," Film Quarterly, 28/2 (Winter 1974-1975), pp.17-25.
- Jury, Lora, "Interrogating the Esso Insignia: Feminised Labour Depictions and the Economic Boom," The Italianist, 42/2 (2022), pp.246-267.
- Kerans, James, "Review of Le Notti di Cabiria," Film Quarterly, 12/1 (Autumn 1958), pp.43-45.
- Schoonover, Karl, "Histrionic Gestures and Historical Representation: Masina's Cabina, Bazin's Chaplin, and Fellini's Neorealism," Cinema Journal, 53/2 (Winter 2014), pp.93-116.
- Brunette, Peter, "When Neorealism Collided with Reality, The New York Times, February 17, 2002, Section 2, p.33.
- Holland, Norman N., "Vittorio De Sica, Umberto D., 1952," A Sharper Focus.
- Hornaday, Ann, "Umberto D.: A Bleaker Shade of Gray," The Washington Post, May 16, 2002.
- Klawans, Stuart, "Seeing Clearly Through Tears: On the Smart Sentiment of Umberto D.," The Criterion Collection, September 4, 2012.
- Marcus, Millicent, "De Sica's Umberto D.: Dark Victory for Neorealism," Chapter 4 of Millicent Marcus, Italian Film in the Light of Neorealism (Princeton: Princeton University Press, 1986), pp.96-117.
- Bolongaro, Eugenio, "Representing the Un(re)presentable: Homosexuality in Luchino Visconti's Rocco and His Brothers," Studies in European Cinema, 7/3 (2010), pp.221-234.
- Foot, John M., "Cinema and the City: Milan and Luchino Visconti's Rocco and His Brothers (1960)," Journal of Modern Italian Studies, 4/2 (1999), pp.209-235.
- Hennessey, Brendan, "Patterns of Pugilism: Rocco e i suoi fratelli (1960) and the Boxing Film," The Italianist, 36/2 (2016), pp.214-242.
- Kelly, Gillian, "Alain Delon: Style, Stardom, and Masculinity," Historical Journal of Film, Radio and Television, 36/3 (2016), pp.479-481.