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)
- 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.
- 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.
Il cammino della speranza
(Pietro Germi, 1950)