| Source | Author | Date | Link |
| Rome, Open City | Dir. Roberto Rossellini | 1945 | Film |
| La Strada | Dir. Federico Fellini | 1954 | Film |
| Rome, Open City review – ‘The most precious moment of film history’ | Mark Kermode, Quote from Martin Scorsese | 2014 | https://www.theguardian.com/film/2014/mar/09/rome-open-city-review-kermode |
| How to read a film | James Monaco | 1977 | Book |
| Critical theory today, a user-friendly guide | Lois Tyson | 2006 | Book |
| THE SCREEN; How Italy Resisted | Bosley Crowther | 1946 | https://www.nytimes.com/1946/02/26/archives/the-screen-how-italy-resisted.html |
| Pina’s Pregnancy, Traumatic Realism, and the After-Life of Open City | Millicent Marcus | 2008 | https://www.jstor.org/stable/40505836?Search=yes&resultItemClick=true&searchText=rome+open+city&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Drome%2Bopen%2Bcity%26acc%3Don%26wc%3Don%26fc%3Doff%26group%3Dnone%26refreqid%3Dsearch%253A8c16c570a9ed1c821d75e6a734149a9b&ab_segments=0%2Fbasic_search_gsv2%2Fcontrol&refreqid=fastly-default%3A559691c216c33ba5a742f9dc5e1a97a6&seq=1#metadata_info_tab_contents |
| Italian Neorealism: A Mirror Construction of Reality | Ben Lawton | 1979 | https://www.jstor.org/stable/44018624?Search=yes&resultItemClick=true&searchText=rome+open+city&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Drome%2Bopen%2Bcity%26acc%3Don%26wc%3Don%26fc%3Doff%26group%3Dnone%26refreqid%3Dsearch%253A8c16c570a9ed1c821d75e6a734149a9b&ab_segments=0%2Fbasic_search_gsv2%2Fcontrol&refreqid=fastly-default%3A559691c216c33ba5a742f9dc5e1a97a6&seq=1#metadata_info_tab_contents |
| Movies: Reassessing Rossellini: Restoration of Rome Open City, the director’s masterpiece, prompts a look at why he later retreated from the neorealism it introduced | Joseph Luzzi | 2011 | https://www.jstor.org/stable/41222845?Search=yes&resultItemClick=true&searchText=rome+open+city&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Drome%2Bopen%2Bcity%26acc%3Don%26wc%3Don%26fc%3Doff%26group%3Dnone%26refreqid%3Dsearch%253A8c16c570a9ed1c821d75e6a734149a9b&ab_segments=0%2Fbasic_search_gsv2%2Fcontrol&refreqid=fastly-default%3A559691c216c33ba5a742f9dc5e1a97a6&seq=1#metadata_info_tab_contents |
| REVISITING THE RESISTANCE OF ROBERTO ROSSELLINI’S CINEMA | Amy Chambless | 2003 | https://www.jstor.org/stable/43802338?Search=yes&resultItemClick=true&searchText=Roberto%20rossellini&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3DRoberto%2Brossellini&ab_segments=0%2FSYC-6080%2Fudeg-test&refreqid=fastly-default%3A1ad548edf121d46f10b92ac2682f9ca0 |
Monthly Archives: October 2021
Filters
Textual Analysis Intro
I have chosen Fernando Meirelles and Kátia Lund’s 2002 crime/drama film City of God for my textual analysis. The film is set between the beginning of the 1960’s and the beginning of the 1980’s and features the stories of two young boys, Rocket and Lil’ Dice both growing up in the slums of the city of god where one pursues photography and the other becomes a ruthless gang leader. I have chosen the section of the film between 0:00:50 – 0:05:50 which is during the opening sequence of the film. In this scene, an opening montage plays showing a bustling open market area where a chicken escapes and the gang chases after it only to bump into Rocket where the police then show up, trapping Rocket between the gang and the police. To analyse this section, I am focusing on sound, editing, mise-en-scene and critical reception.