A Bibliography of English-Language History, Theory, and Criticism of Italian Cinematic Neorealism

Article excerpt

The most comprehensive bibliography on neorealism is that complied by the Mostra Internazionale del Nuovo Cinema, Il neorealismo e la critica: materiali per una bibliografia, Quaderno informativo 57 (Pesaro, 1974). It contains listings from Italy, England, France, Poland, Germany, Japan, Brazil, the United States, and Switzerland. Each of the following two books contains a bibliography on neorealism: Roy Armes, Patterns of Realism: A Study of Italian Neo-Realist Cinema (New York: A. S. Barnes, 1971); David Overbey, ed., trans., and intra., Springtime in Italy: A Reader on Neo-Realism (Hamden, Ct.: Archon Books, 1978). Both Armes and Overbey list essays and books in French and Italian as well as in English. As my title indicates, my bibliography contains only English entries. It is up-to-date (much writing on neorealism has appeared in English since Overbey did his bibliography in 1978), and I have sought to make it as comprehensive as possible (in English) by listing books with chapters or essays on neorealism (for example, Penelope Houston, "The Italian Experience," in her The Contemporary Cinema). Armes and Overbey for the most part excluded such entries from their bibliographies.



1. Almendros, Nestor. "Neorealist Cinematography." Film Culture,20, pp. 39-43.

2. Anonymous. "Italy after the Liberation: Reality and Neo-realism." [London] Times Literary Supplement, No. 3111 (13 October 1961). pp. 710-711.

3. Aristarco, Guido. "ItáUanCmemz." FilmCulture, 1,No. 2 (March-April 1955), pp. 29-33.

4. _____ . Neo-realism and National Environment. Rimini: Grimaldi, 1976.

5. Armes, Roy. Patterns of Realism: A Study of Italian Neo-Realist Cinema. New York: A. S. Barnes, 1971.

6. Bachmann, Gideon. "Federico Fellini: Beyond Neorealism" (Interview). In Patterns of Italian Cinema Volume 1. Ed. Giose Rimanelli. Albany, New York: Dept. of Hispanic and Italian Studies at State Univ. of New York, 1980, pp. 425-438. Reprinted from MacCann, Richard Dyer, ed. Film: A Montage of Theories. New York: Dutton, 1966.

7. Bazin, André. What Is Cinema? Volume 2. Trans. Hugh Gray. Berkeley: Univ. of California Press, 1971 . (Ch. 1 : "An Aesthetic of Reality: Cinematic Realism and the Italian School of the Liberation," pp. 16-40; Ch. 2: "La Terra Trema, pp. 41-46; Ch. 3: "Bicycle Thief, pp. 47-60; Ch. 4: "DeSica: Metteur en Scène," pp. 61-78; Ch. 5: "Umberto D: A Great Work," pp. 79-82; Ch. 6: "Cabiria: The Voyage to the End of Neorealism," pp. 83-92; Ch.7: "In Defense of Rossellini," pp. 93-101.)

8. Bennett, Joseph. "Italian Film: Failure and Emergence. " Kenyon Review, 26, No. 4 (Autumn 1964), pp. 738-747.

9. Bondanella, Peter. "Early Fellini: Variety Lights, The White Sheik, The Vitelloni." In Federico Fellini: Essays in Criticism. Ed. Peter Bondanella. New York: Oxford Univ. Press, 1978, pp. 220-239.

10. _____ . "Neorealistic Aesthetics and the Fantastic: The Machine to Kill Bad People and Miracle in Milan." Film Criticism, 3, No. 2 (Winter 1979), pp. 24-29.

11. _____ . Ch. 2, "The Masters of Neorealism: Rossellini, De Sica, and Visconti." In his Italian Cinema: From Neorealism to the Present. New York: Ungar, 1983, pp. 31-73.

12. Braudy, Leo. "Rossellini: From Open City to General della Rovere." In Great Film Directors: A Critical Anthology. Ed. Leo Braudy and Morris Dickstein, New York: Oxford Univ. Press, 1978, pp. 655-673.

13. Brunette, Peter. "Just How Brechtian is Rossellini? Film Criticism, 3, No. 2 (1979), pp. 30-42.

14. _____ . "Unity and Difference in Paisan." S tudies in the Literary Imagination 16, No. 1 (Spring 1983), pp. 91-111.

15. Bruno, E. "Rossellini's Originality." Framework, No. 10 (Spring 1979), pp. 46-48.

16. Burke, Frank M. "Variety Lights, The White Sheik, and Italian Neorealism." Film Criticism 3, No. 2 (Winter 1979), pp. 53-66.

17. Cannella, M. …