Anderson, C. (2011). Cold war consumer diplomacy and movie-induced Roman holidays. Journal of Tourism History, 3(Issue 1), 1–19. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=hia&AN=62667757&site=eds-live&scope=site
Antonello, P. (2016). 1.7: A’ Storia e’ Maria: Gender Power Dynamics and Genre Normalization, (‘Imma contro tutti’, Francesca Comencini). The Italianist, 36(2), 322–327. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=118863958&site=eds-live&scope=site
Bassi, S. (2018). Whose Comatose Girlfriend? Figures of Crisis in Neoliberal Italy [in] Modern Languages Open. Modern Languages Open, 2018(1). https://www.modernlanguagesopen.org/articles/10.3828/mlo.v0i0.176/
Bondanella, P. E. (2009). A History of Italian Cinema. Continuum International Pub. Group. https://contentstore.cla.co.uk/secure/link?id=613b295e-1723-e911-80cd-005056af4099
Bradshaw, P. (2017). Review of Call Me By Your Name. The Guardian. https://www.theguardian.com/film/2017/oct/26/call-me-by-your-name-review-luca-guadagnino-armie-hammer
Clapp, J. A. (2009). The Romantic Travel Movie, Italian-Style. Visual Anthropology., 22(Issue 1), 52–63. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=35713433&site=eds-live&scope=site
di Bianco, L. (2016). 1.5: Donna Imma’s ‘Dream of Domination’ (‘Il ruggito della leonessa’, Francesca Comencini). The Italianist, 36(2), 312–317. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=118863961&site=eds-live&scope=site
Dobson, A. S., & Kanai, A. (2018). From "can-do” girls to insecure and angry: affective dissonances in young women’s post-recessional media. Feminist Media Studies, 1–16. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=edsmzh&AN=201916422048&site=eds-live&scope=site
Donadio, R. (2013). ‘La Dolce Vita Gone Sour (And This Time in Color)’ [in] New York Times. New York Times, 162(Issue 56254, pC1-C5. 2p. 1 Color Photograph). https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=asx&AN=90130205&site=eds-live&scope=site
Duncan, D. (2017). Chapter 27 - The Queerness of Italian Cinema. In F. Burke (Ed.), A Companion to Italian Cinema (pp. 467–483). John Wiley & Sons, Inc. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008701859707446&context=L&vid=44UOEX_INST:default
Dyer, R. (1999). Chapter 20 - The Role of Stereotypes. In P. Marris & S. Thornham (Eds.), Media Studies: A Reader (2nd ed, pp. 245–251). Edinburgh University Press. https://contentstore.cla.co.uk/secure/link?id=93023b4b-1931-e911-80cd-005056af4099
Elisabetta, G. (2006). Beauty and the Beast: The construction of Italianness in A Room With A View and Where Angels Fear To Tread. Studies in European Cinema., 3(1), 01–35. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=edsovi&AN=edsovi.01244594.200603010.00003&site=eds-live&scope=site
Falcus, S., & Sako, K. (2014). Chapter 13 - Women, travelling and later life. In I. Whelan & J. Gwynne (Eds.), Ageing, popular culture and contemporary feminism : Harleys and hormones. Palgrave Macmillan. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991000980539707446&context=L&vid=44UOEX_INST:default
Fellini, F., Mastroianni, M., & Ekberg, A. (2001). La Dolce Vita. Momentum Pictures MP042D.
Gary Crowdus Paolo Sorrentino. (2014). ‘In Search of “The Great Beauty”: An Interview with Paolo Sorrentino’ [in] Cineaste. Cineaste, 39(2), 8–13. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=edsjsr&AN=edsjsr.43500945&site=ed
Girelli, E. (2009). Chapter 5 - ‘Italianness, British cinema and Thatcherism’ [in] Beauty and the Beast: Italianness in British cinema. Intellect. https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://elibrary.exeter.ac.uk/idp/shibboleth&dest=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781841503035
Gordon, R. (2012). Cartoline da Roma. Hollywood, l’Italia e la citta del turismo. In ItaliAmerica: il mondo dei media (pp. 11–34). Il saggiatore.
Gordon, R. (2013). ‘All tomorrow’s parties’ [in] Times Literary Supplement. ,Times Literary Supplement, 5765, 18–18. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=90500389&site=eds-live&scope=site
Gordon, R. (2014). Hollywood and Italy: Industries and Fantasies. In The Italian Cinema Book (pp. 123–132). Palgrave Macmillan on behalf of the British Film Institute. https://contentstore.cla.co.uk/secure/link?id=5fb9d3b7-b739-e911-80cd-005056af4099
Guadagnino, L., & Hammer, A. (2017). Call me by your name. Sony Pictures Home Entertainment.
Gundle, S. (2011). Death and the Dolce Vita: the dark side of Rome in the 1950s. Edinburgh. https://contentstore.cla.co.uk/secure/link?id=681c2c6a-1a2e-e911-80cd-005056af4099
Haskell, M. (2017). Call Me by Your Name. Film Comment., 53(Issue 6), 67–69. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=125914958&site=eds-live&scope=site
Hipkins, D. (n.d.). The Showgirl Effect: Ageing between great beauties and ‘veline di turno’ [in] ReadingItaly. https://readingitaly.wordpress.com/2013/12/11/cinepanettone-academia/
Hom, S. M. (n.d.). Italy without borders: Simulacra, tourism, suburbia and the new Grand Tour. Italian Studies, 65(3), 376–397. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=54909182&site=eds-live&scope=site
Hom, S. M. (2015a). Chapter 2 - Italian Montage: On Rhetoric and Representations. In The Beautiful Country: Tourism and the Impossible State of Destination Italy (pp. 68–80). University of Toronto Press. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991006744799707446&context=L&vid=44UOEX_INST:default
Hom, S. M. (2015b). Chapter 2 - Italian Montage: On Rhetoric and Representations. In The Beautiful Country: Tourism and the Impossible State of Destination Italy (pp. 68–80). University of Toronto Press. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991006744799707446&context=L&vid=44UOEX_INST:default
Iannotta, Antonio. (2016). ‘Le immagini del potere. Note sull’identità italiana nel cinema di Paolo Sorrentino’ [in] California Italian Studies. California Italian Studies, 6(Issue 2, preceding p1-17), 1–17. https://escholarship.org/uc/item/69z1s71b
Ivory. (1985). A Room with a View. https://login.learningonscreen.ac.uk/wayfless.php?entityID=https://elibrary.exeter.ac.uk/idp/shibboleth&target=https://learningonscreen.ac.uk/ondemand/index.php/prog/0055A08C?bcast=80632351
Ivory, J., Smith, M., Bonham Carter, H., Elliot, D., Callow, S., & Day-Lewis, D. (2007). A Room with a View. Channel 4.
Jones, T. (2013). The dark heart of Italy (Third edition). Faber and Faber.
Lavery, D. (2005). Reading the Sopranos. I. B. Tauris. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008571029707446&context=L&vid=44UOEX_INST:default
Levy, S. (2016a). Chapter 12 - ‘She will be a sensation’. In Dolce Vita Confidential (First edition, pp. 111–121). W.W. Norton & Company. https://contentstore.cla.co.uk/secure/link?id=c379ad2c-ab5a-e911-80cd-005056af4099
Levy, S. (2016b). Dolce vita confidential: Fellini, Loren, Pucci, paparazzi, and the swinging high life of 1950s Rome (First edition). W.W. Norton & Company.
Liz, M. (2014). From Europe with love: urban space and cinematic postcards. Studies in European Cinema, 11(Issue 1), 3–13. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=edb&AN=97901909&site=eds-live&scope=site
Longo, R. (2016). Queering the Globe: A Conversation with Rosalind Galt and Karl Schoonover on Queer Cinema in the World. Film Quarterly, 2, 94–100. https://uoelibrary.idm.oclc.org/login?url=https://search.ebscohost.com/login.aspx?direct=true&db=edsjsr&AN=edsjsr.26413772&site=eds-live&scope=site
Manetti, M., & Manetti, A. (2018). Ammore e malavita. 01 Distribution.
Martini, Alessia. (2015). ‘Concept City: Roma ri-vista e vissuta ne La dolce vita e La grande bellezza’ [in] Carte Italiiane: A Journal of Italian Studies. Carte Italiane: A Journal of Italian Studies, 107–119. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=111110081&site=ehost-live
Mecchia, G. (2016). Birds in the Roman sky: Shooting for the sublime in La Grande Bellezza’. Forum Italicum: A Journal of Italian Studies, 50(1), 183–193. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=edsmzh&AN=2016642558&site=eds-live&scope=site
Menta, A. (2017). Sex and the Single Boy. Newsweek Global, 169(Issue 23), 46–47. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=bth&AN=126830179&site=eds-live&scope=site
Miller, D. A. (2018). Elio’s Education. Los Angeles Review of Books. https://lareviewofbooks.org/article/elios-education/
Monk, C. (2001). Sexuality and Heritage. In Film/Literature/Heritage: A sight and sound reader (pp. 32–34). British Film Institute. https://contentstore.cla.co.uk/secure/link?id=9119f84c-c818-e911-80cd-005056af4099
Moya, A. (2013). Chapter 1 - Neo-Feminism in-between: Female cosmopolitan subjects in contemporary American film. In N. Muller (Ed.), Postfeminism and Contemporary Hollywood Cinema (pp. 13–26). Palgrave Macmillan. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991003237899707446&context=L&vid=44UOEX_INST:default
O’Healy, A. (2018). Film Review: ‘Call me By your Name’ by Luca Guadagnino. Gender / Sexuality / Italy. http://www.gendersexualityitaly.com/26-call-me-by-your-name/
O’Rawe, C. (2014). Stars and masculinities in contemporary Italian cinema. Palgrave Macmillan. https://fsso.springer.com/federation/init?entityId=https%3A%2F%2Felibrary.exeter.ac.uk%2Fidp%2Fshibboleth&returnUrl=https://link.springer.com/book/10.1057/9781137381477
Ouditt, S., & Polezzi, L. (2012). Introduction: Italy as place and space. Studies in Travel Writing., 16(Issue 2), 97–105. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=76246085&site=eds-live&scope=site
Paulicelli, E. (2016). Chapter 7 - ‘After La dolce vita: La grande bellezza (2013) by Paolo Sorrentino’ [in] Italian style: fashion & film from early cinema to the digital age. In Italian Style: Fashion and film from early cinema to the digital age: Vol. Volume 5. Bloomsbury Academic. http://www.vlebooks.com/vleweb/product/openreader?id=Exeter&isbn=9781623566616
Regan, D. (2016). Gomorra: la Serie : Beyond Realism. Italianist, 36(2), 287–292. https://uoelibrary.idm.oclc.org/login?url=https://search.ebscohost.com/login.aspx?direct=true&db=edsbl&AN=vdc.100108364840.0x000001&site=eds-live&scope=site
Renga, D. (2019). Chapter 7 - Making Men in Gomorrah 1 and 2. In Watching Sympathetic Perpetrators on Italian Television: Gomorrah and Beyond (pp. 193–229). Springer International Publishing. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008761159707446&context=L&vid=44UOEX_INST:default
Rhodes, J. D. (n.d.). Chapter 24 - Watching Italians turn around: gender, looking and Roman / cinematic modernity. In F. Burke (Ed.), A Companion to Italian Cinema (pp. 408–426). John Wiley & Sons, Inc. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008701859707446&context=L&vid=44UOEX_INST:default
Ricci, F. (2011). Chapter 17 - When Words Can Kill: David Chase’s The Sopranos. In D. Renga (Ed.), Mafia movies: A reader (pp. 183–191). University of Toronto Press. https://contentstore.cla.co.uk/secure/link?id=35978f80-771d-e911-80cd-005056af4099
Riva, M. (Ed.). (2004). Italian tales : an anthology of contemporary Italian fiction. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991005783689707446&context=L&vid=44UOEX_INST:default
Roman Holiday. (1953). https://login.learningonscreen.ac.uk/wayfless.php?entityID=https://elibrary.exeter.ac.uk/idp/shibboleth&target=https://learningonscreen.ac.uk/ondemand/index.php/prog/0000E100?bcast=116265181
Sitney, P. A. (1995). Vital crises in Italian cinema: iconography, stylistics, politics. University of Texas Press.
Sorrentino, P., Servillo, T., Verdone, C., Ferilli, S., & Buccirosso, C. (2013). The great beauty. Artificial Eye ART 678.
The Sopranos: Series 2, Episode 4, ‘Commendatori’. (n.d.). https://learningonscreen.ac.uk/ondemand/index.php/prog/TVI18426?bcast=3006646
Thomson, David. (2013). ‘Beauty’ [in] New Republic. New Republic, 244(Issue 19), 56–58. https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=bth&AN=91900785&site=ehost-live
University of Exeter. (n.d.). Modern Languages - LibGuides at University of Exeter. https://libguides.exeter.ac.uk/modernlanguages
Wheatley, C. (2017). Call Me by Your Name. Sight and Sound, 27(11). https://uoelibrary.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=125504630&site=eds-live&scope=site
Wyler, W., Hepburn, A., Peck, G., & Albert, E. (2009). Roman Holiday. Paramount Pictures PHE1114.
Zambenedetti, A. (Ed.). (2014). World film locations: Florence. Intellect Books. https://exeter.primo.exlibrisgroup.com/discovery/fulldisplay?docid=alma991008564439707446&context=L&vid=44UOEX_INST:default
