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1. An ‘Imagined Conversation’ with Italian Neorealism. Charles L. Leavitt IV, Italian (...)

   http://duke.summon.serialssolutions.com/2.0.0/link/0/eLvHCXMwrZ3NSsNAEMcX6cmL-AV-MwePTfOx2zaBUojBYKQISlE8hd1kl1ZsKSUK3voY-gy-VZ_End1A60UPek3IJhk2mdnZ__yGkHNetgvhUe4I7SscVijpCO77DsdNP-3vA8Yxof8QXj8Gt3dhmqy1-kJNmMUDW8O5tPCVYpLRQnWZKpXQPlsHAVRGUVvxosS_r16Vry2mnkzKqKsj866tlet4UeDiJ9VC9ouDfBLXx1G-cfqNQ0m3yVYdCUJsn2CHbMjpLmmk4-fJHvmMp7BcvGcT7CEkS0hQGz63wpvl4gMwewq9UT-rTJoCbrAaEVGGk5476reg3kSHQQsGkr-Oqwqy--ZPV8SQ1AwOsOSQtyYMLd0AVuINMIqN1ZlAh4H7JEsvh8mVgy-Zzyy9IkeetDmgrZzXVs5_szI9IMBkpKRfUo9TyYqwI0odW4pIKOm1w1AFh-Ti7zc6-o9BjslmgFUKRlV7QhrV_EWe2m4PZ2aefAEB7cx-

   by Sergio Rigoletto

   Cinergie (Online), Issue 21, pp. 223 - 226

   Journal Article : Full Text Online

2. Italian neorealism and the ‘woman’s film’: Selznick, De Sica and Stazione Termini

   http://duke.summon.serialssolutions.com/2.0.0/link/0/eLvHCXMwjV1PS8MwFA-6kxf_TME5HUFEL9Y1TbumMgYyLSqC6CbqxZKmKZtuVdxE2GkfQ7_ePokvTTfdLvPUQF8eJXnpe7_3Lwjt8cgRoUm5EYKuMGwRSyPkhBhcBf1A31s2Vw79e3b5aN3cMr_-6--YjeB7tAynBxBdufXMuZmCcwImsoLl1w-TX65r2WTcXddzbDrpzjg7fUr7qIo2nfWYKhN_RRf4pTeOqUzqI51Jon0KUynWf3o1zv3iVbSc2Zb4RAvDGlqQSR7l_Hanm0fF7G2718X7eKospLeOnqqt2kU_dXngRFU2poTVcquGeRJhMBLxaPj1-drlyWj43cMx8ITBMW7IzgD4vBziU4kbwDClBwt2oDog4WaaatPeQHf-WbN-bmQ3LxjCsljfECKqSMFDhwnBOHdlFLtERoCNSEVKgDgxtwUYG_AkFKTADZmAwy8k5QrEEbqJsC29WJKImpxKW7BKCNNJ6IWxNB3GYquADsZbEbzpzhqBjojTQK9gkK1gAe3CTs0h2voPUREtWSonRZWkW9so13__kDv6GogSWvSv_FIqVz98-NFW

   by O’rawe, Catherine

   Screen (London), Volume 61, Issue 4, pp. 505 - 524

   Journal Article : Full Text Online

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3. Almost as good as Soviet cinema: Reception of Italian neorealism in Poland: 1946–56

   http://duke.summon.serialssolutions.com/2.0.0/link/0/eLvHCXMwpV3LbhMxFLVC2bBBvCRKAXkB2cDQjD3PqioqpRGiGx6JEBLSyPZ4aKpMgpiAxI5_4MP4B76Ee_2YuJBFEZuZZOI4yviM7_tcQh6IOlVyxEUkQVZEiWp0JEUcRwKDfiDvWSLQof-uePmevX5TjI8Gg5--FsbkMqN93rlHZUOVA9arYn7jN99h6unMBdbRvzSKn09PjiuwfSfDr7CywXtYdP8EDh_y8f_iBa4BYrD-9h8w008KF-A1IAeOgB04Xgg9h_N22ZkmNB-R9hjOb5cgQVePMA7fCptG5zJiTDXKyvpLFlgWiZyKLTpSXi1N3qRxOiSZz6vgluPbq8QI1IC_ws9kf8jENkx1iyHCDTIeT-b6rLP1bNghoe6RY4obo_XHSBEd-jZYkINlt0CGPBI5t413nujwmu0a4_fwMoAqD_Zjbnt9ONHObTe6v6QGN0Gss5lqu8ooRVW8Fo8-JeAPqdnnMpqQYJFV575-iVxmqHvhZvts2jv9kLCLmzbC_T9zvK8ww-65GQI9ybKXGYVnco1cdZYKPbTguE4GenGDbI1n8_Ym-WDxQUVHER94tvigdtn2aI8Oumzo_umBW1a6Bsj-7ukBnS2oBckeRYj8-v4jzW6R6fh4cvQicn06IsV4voqSWjQsVQxEQYr2dyHrLIllk-qyBG08yVUJA8CQVymvmSpEpnXOpeHIHmUy57cJTXTZ6LjmI8F1oopM1mC4yFI2GuYsGrZNHvvbUSnHXo9NVObVxvu_TYb98E-WtmXzwDsXHbhDrqwRepdsrT5_0fdsB5H7ZpF_A5I4jSs

   by Klejsa, Konrad and Miller-Klejsa, Anna

   The Journal Of Italian Cinema And Media Studies, Volume 9, Issue 3, pp. 367 - 384

   Journal Article : Full Text Online

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