https://orcid.org/0000-0003-2839-6046
References
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- Cohen, J. July 23, 2010. “Why milk and honey.”http://www.umc.sunysb.edu/surgery/m&h.html. 25 July 2020.
- Evans, C., and L. Gamman. 1995. The gaze revisited, or reviewing queerviewing. In A queer romance: Lesbians, gay men, and popular culture, 13-56. London and New York: Routledge.
- Fiore, T. 2017. Crossing the atlantic to meet the nation: The emigration ship in mignonette’s songs and Crialese’s Nuovomondo. In Pre-Occupied spaces: Remapping Italy’s transnational migrations and colonial legacies, 31-49. New York: Fordham UP.
- Goldstein, E. 2001. Revisions: Seeing torah through a feminist lens. Toronto: Key Porter Books Limited.
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- Michaud, M.-C. 2017. Nuovomondo, ellis island, and italian immigrants: A new appraisal by Emanuele Crialese. Quaderni D’italianistica 38, no. 1: 37–60. doi:10.33137/q.i.v38i1.31140.
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- Tamburri, A.J. 2010. Discussione in classe: Letteratura e cinema ‘italiano/americani. In L’estate, 92-128. Middlebury College.
- Tamburri, A.J. 2011. Old World versus new. Or opposites attract: Emanuele Crialese’s Nuovomondo. In Re-Viewing Italian Americana: Generalities and specificities on cinema. New York: Bordighera Press.
Filmography
- Crialese, E. 1997. Once we were strangers. Backpain Productions.
- Crialese, E. 2002. Respiro. Fandango.
- Crialese, E. 2006. Nuovomondo. Miramax.
- Crialese, E. 2011. Terraferma. Cattelya.
- Tornatore, G. 2000. Malena. Medusa Film.