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Ivory, J., Smith, M., Bonham Carter, H., Elliot, D., Callow, S., Day-Lewis, D.: A Room with a View, (2007).
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Ivory: 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, (1985).
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Dyer, R.: Chapter 20 - The Role of Stereotypes. In: Marris, P. and Thornham, S. (eds.) Media Studies: A Reader. pp. 245–251. Edinburgh University Press, Edinburgh (1999).
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Elisabetta, G.: 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, 01–35 (2006).
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Girelli, E.: Chapter 5 - ‘Italianness, British cinema and Thatcherism’ [in] Beauty and the Beast: Italianness in British cinema. Presented at the (2009).
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Hom, S.M.: 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, Toronto [Ontario] (2015).
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Ouditt, S., Polezzi, L.: Introduction: Italy as place and space. Studies in Travel Writing. 16, 97–105 (2012).
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Zambenedetti, A. ed: World film locations: Florence. Intellect Books, Bristol (2014).
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Wyler, W., Hepburn, A., Peck, G., Albert, E.: Roman Holiday, (2009).
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Roman Holiday, 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, (1953).
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Anderson, C.: Cold war consumer diplomacy and movie-induced Roman holidays. Journal of Tourism History. 3, 1–19 (2011).
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Clapp, J.A.: The Romantic Travel Movie, Italian-Style. Visual Anthropology. 22, 52–63 (2009).
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Falcus, S., Sako, K.: Chapter 13 - Women, travelling and later life. In: Whelan, I. and Gwynne, J. (eds.) Ageing, popular culture and contemporary feminism : Harleys and hormones. Palgrave Macmillan, Houndmills, Basingstoke, Hampshire (2014).
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Gordon, R.: Cartoline da Roma. Hollywood, l’Italia e la citta del turismo. In: ItaliAmerica: il mondo dei media. pp. 11–34. Il saggiatore, Milano (2012).
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Hom, S.M.: 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, Toronto [Ontario] (2015).
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Levy, S.: Chapter 12 - ‘She will be a sensation’. In: Dolce Vita Confidential. pp. 111–121. W.W. Norton & Company, New York (2016).
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Liz, M.: From Europe with love: urban space and cinematic postcards. Studies in European Cinema. 11, 3–13 (2014).
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Moya, A.: Chapter 1 - Neo-Feminism in-between: Female cosmopolitan subjects in contemporary American film. In: Muller, N. (ed.) Postfeminism and Contemporary Hollywood Cinema. pp. 13–26. Palgrave Macmillan, Basingstoke (2013).
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Guadagnino, L., Hammer, A.: Call me by your name, (2017).
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Bradshaw, P.: Review of Call Me By Your Name. The Guardian. (2017).
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Duncan, D.: Chapter 27 - The Queerness of Italian Cinema. In: Burke, F. (ed.) A Companion to Italian Cinema. pp. 467–483. John Wiley & Sons, Inc., Hoboken, NJ, USA (2017).
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Haskell, M.: Call Me by Your Name. Film Comment. 53, 67–69 (2017).
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Longo, R.: Queering the Globe: A Conversation with Rosalind Galt and Karl Schoonover on Queer Cinema in the World. Film Quarterly. 94–100 (2016).
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Menta, A.: Sex and the Single Boy. Newsweek Global. 169, 46–47 (2017).
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Miller, D.A.: Elio’s Education, https://lareviewofbooks.org/article/elios-education/.
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Monk, C.: Sexuality and Heritage. In: Film/Literature/Heritage: A sight and sound reader. pp. 32–34. British Film Institute, London (2001).
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O’Healy, A.: Film Review: ‘Call me By your Name’ by Luca Guadagnino. Gender / sexuality / Italy. (2018).
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Wheatley, C.: Call Me by Your Name. Sight and Sound. 27, (2017).
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The Sopranos: Series 2, Episode 4, ‘Commendatori’, https://learningonscreen.ac.uk/ondemand/index.php/prog/TVI18426?bcast=3006646.
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Ricci, F.: Chapter 17 - When Words Can Kill: David Chase’s The Sopranos. In: Renga, D. (ed.) Mafia movies: A reader. pp. 183–191. University of Toronto Press, Toronto [etc.] (2011).
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Jones, T.: The dark heart of Italy. Faber and Faber, London (2013).
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Antonello, P.: 1.7: A’ Storia e’ Maria: Gender Power Dynamics and Genre Normalization, (‘Imma contro tutti’, Francesca Comencini). The Italianist. 36, 322–327 (2016).
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di Bianco, L.: 1.5: Donna Imma’s ‘Dream of Domination’ (‘Il ruggito della leonessa’, Francesca Comencini). The Italianist. 36, 312–317 (2016).
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Lavery, D.: Reading the Sopranos. I. B. Tauris, London (2005).
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Regan, D.: Gomorra: la Serie : Beyond Realism. Italianist. 36, 287–292 (2016).
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Renga, D.: 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, Cham (2019).
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Manetti, M., Manetti, A.: Ammore e malavita, (2018).
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Sitney, P.A.: Vital crises in Italian cinema: iconography, stylistics, politics. University of Texas Press, Austin (1995).
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Bondanella, P.E.: A History of Italian Cinema. Continuum International Pub. Group, New York (2009).
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Gordon, R.: Hollywood and Italy: Industries and Fantasies. In: The Italian Cinema Book. pp. 123–132. Palgrave Macmillan on behalf of the British Film Institute, Basingstoke (2014).
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Gundle, S.: Death and the Dolce Vita: the dark side of Rome in the 1950s. Edinburgh (2011).
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Levy, S.: Dolce vita confidential: Fellini, Loren, Pucci, paparazzi, and the swinging high life of 1950s Rome. W.W. Norton & Company, New York (2016).
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Rhodes, J.D.: Chapter 24 - Watching Italians turn around: gender, looking and Roman / cinematic modernity. In: Burke, F. (ed.) A Companion to Italian Cinema. pp. 408–426. John Wiley & Sons, Inc., Hoboken, NJ, USA.
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Sorrentino, P., Servillo, T., Verdone, C., Ferilli, S., Buccirosso, C.: The great beauty. Artificial Eye ART 678 (2013).
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Gary Crowdus Paolo Sorrentino: ‘In Search of “The Great Beauty”: An Interview with Paolo Sorrentino’ [in] Cineaste. Cineaste. 39, 8–13 (2014).
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Donadio, R.: ‘La Dolce Vita Gone Sour (And This Time in Color)’ [in] New York Times. New York Times. 162, (2013).
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Gordon, R.: ‘All tomorrow’s parties’ [in] Times Literary Supplement. ,Times Literary Supplement. 18–18 (2013).
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Hipkins, D.: The Showgirl Effect: Ageing between great beauties and ‘veline di turno’ [in] ReadingItaly, https://readingitaly.wordpress.com/2013/12/11/cinepanettone-academia/.
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Iannotta, Antonio: ‘Le immagini del potere. Note sull’identità italiana nel cinema di Paolo Sorrentino’ [in] California Italian Studies. California Italian Studies. 6, 1–17 (2016).
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Martini, Alessia: ‘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 (2015).
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Mecchia, G.: Birds in the Roman sky: Shooting for the sublime in La Grande Bellezza’. Forum Italicum: A Journal of Italian Studies. 50, 183–193 (2016).
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O’Rawe, C.: Stars and masculinities in contemporary Italian cinema. Palgrave Macmillan, Basingstoke (2014).
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Paulicelli, E.: 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. Bloomsbury Academic, New York, NY (2016).
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Thomson, David: ‘Beauty’ [in] New Republic. New Republic. 244, 56–58 (2013).
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Bassi, S.: Whose Comatose Girlfriend? Figures of Crisis in Neoliberal Italy [in] Modern Languages Open. Modern Languages Open. 2018, (2018).
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Dobson, A.S., Kanai, A.: From "can-do” girls to insecure and angry: affective dissonances in young women’s post-recessional media. Feminist Media Studies. 1–16 (2018).
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Hom, S.M.: Italy without borders: Simulacra, tourism, suburbia and the new Grand Tour. Italian Studies. 65, 376–397.
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Riva, M. ed: Italian tales : an anthology of contemporary Italian fiction. (2004).
