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Notes
Bernardo Bertolucci, Segnocinema, Mag Giu 1994, 20.
See T. De Lauretis, “Fellini’s 9½” in Technologies of Gender: Essays on Theory, Film, and Fiction (Bloomington: University of Indiana Press, 1987), 95–106; as well as
T. De Lauretis, Alice Doesn’t: Feminism, Semiotics, Cinema (Bloomington: University of Indiana Press, 1984), 138. The seminal work on this subject is
Laura Mulvey, “Visual Pleasure in Narrative Cinema,” in Visual and Other Pleasures (Bloomington: Indiana University Press, 1989).
Carlo Celli, “Federico Fellini’s Anti-Intellectualism,” Romance Languages Annual, VIII, 1996, 168–171.
Vittorio De Sica Contemporary Perspectives, ed., Howard Curie and Stephen Snyder, (Toronto: University of Toronto Press, 2000), 49.
Carlo Celli, “Review of Curie and Snyder, Vittorio De Sica Contemporary Perspectives,” Italica, 79, 2 (Summer 2002), 283–285.
See the following studies on Pasolini: Beverly Allen, ed., Pier Paolo Pasolini: The Poestics of Heresy (Saratoga: Anma Libri, 1982);
N. Green, Pier Paolo Pasolini: Cinema as Heresy (Princeton: Princeton University Press, 1990);
L. Martellini, Introduzione a Pasolini (Roma: Laterza, 1989).
This article appeared in the magazine Espresso, June 16, 1968. See Pier Paolo Pasolini, Scritti corsari (Milan: Garzanti Editore, 1975).
See T.G. Kline, Bertolucci’s Dream Loom: A Psychoanalytic study of Cinema (Amhert, Massachusetts, 1987);
E. Ungari ed., Bertolucci by Bertolucci (London: Plexus, 1987);
R. Burgoyne, Bertolucci’s 1900: A Narrative and Historical Analysis (Detroit: Wayne State University Press, 1991);
F. Casetti, Bernardo Bertolucci (Firenze: La Nuova Italia, 1976).
Pauline Kael, “Last Tango in Paris,” in Roger Ebert, ed., Roger Ehert’s Book of Film (New York: W.W. Norton, 1997), 307–313.
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© 2007 Carlo Celli and Marga Cottino-Jones
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Celli, C., Cottino-Jones, M. (2007). The Later 1960s. In: A New Guide to Italian Cinema. Italian and Italian American Studies. Palgrave Macmillan, New York. https://doi.org/10.1057/9780230601826_7
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