Course Syllabus

JOHN CABOT UNIVERSITY

COURSE CODE: "CMS/ITS 243"
COURSE NAME: "Cinematic Rome"
SEMESTER & YEAR: Summer Session II 2018

SYLLABUS

INSTRUCTOR: Marco Ferrari
EMAIL: [email protected]
HOURS: MTWTH 11:10-1:00 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: This course carries 3 semester hours of credit.
OFFICE HOURS:

COURSE DESCRIPTION:
An analysis of the social, aesthetic, political, and rhetorical implications of cinematic representations of Rome, from silent films to the present. This course will evaluate and discuss ten primary films, along with excerpts from a number of others. We will consider five main topics: Images of Ancient Rome; Before and After World War II; "Americans" in Rome, and Rome in America; Fellini’s Rome; and Urban Angst, Roman Style. As the semester progresses, we will consider how Rome functions as a "character" in the movies, as well as how The Eternal City comprises the mise-en-scène. We will assess the artistic representations of Roman monuments and streetscapes on movie sets, as opposed to location shooting. Special attention will be given to memory construction, as well as the rhetoric of "places and spaces" (how the physical/symbolic setting influences us). In this course, students will visit cinematic landmarks in Rome and write about their experiences

SUMMARY OF COURSE CONTENT:

This course will evaluate and discuss primary films, along with excerpts from a number of others. We will consider five main topics: Images of Ancient Rome; Before and After World War II; “Americans” in Rome, and Rome in America; Fellini’s Rome; and Urban Angst, Roman Style. As the semester progresses, we will consider how Rome functions as a “character” in the movies, as well as how the Eternal City comprises the mise-en-scène. We will assess the artistic representations of Roman monuments and streetscapes on movie sets, as opposed to location shooting. Special attention will be given to memory construction, as well as the rhetoric of “places and spaces” (how the physical/symbolic setting influences us). In this course, students will visit cinematic landmarks in Rome, including film theaters (open and closed) Cinecittà and Istituto LUCE, as part of their research.

LEARNING OUTCOMES:

1. Students will become familiar with critically acclaimed films that prominently feature Roman landmarks and streetscapes.

2. Students will develop their film criticism skills, with special emphasis on analysis of the mise-en-scène (film setting), memory construction, and the rhetoric of "places and spaces" (how the physical/symbolic setting influences us).

3. Students will consider cinema as an expression of national or international culture, aesthetics, values, and politics.

4. Students will gain an appreciation for the Italian film industry.

5. Students will hone their descriptive, experiential, and analytical writing and presentation skills through assignments tailored to foster personal engagement with the Eternal City.

TEXTBOOK:

NONE

REQUIRED RESERVED READING:

NONE

RECOMMENDED RESERVED READING:

NONE

GRADING POLICY
-ASSESSMENT METHODS:

Assignment	Guidelines	Weight
In-class Presentation		25
Video Essay		25
Final Paper		25
Attendance, Discussion, Screening Notes		25

-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the course.
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.

-ATTENDANCE REQUIREMENTS:
ATTENDANCE REQUIREMENTS AND EXAMINATION POLICY
You cannot make-up a major exam (midterm or final) without the permission of the Dean’s Office. The Dean’s Office will grant such permission only when the absence was caused by a serious impediment, such as a documented illness, hospitalization or death in the immediate family (in which you must attend the funeral) or other situations of similar gravity. Absences due to other meaningful conflicts, such as job interviews, family celebrations, travel difficulties, student misunderstandings or personal convenience, will not be excused. Students who will be absent from a major exam must notify the Dean’s Office prior to that exam. Absences from class due to the observance of a religious holiday will normally be excused. Individual students who will have to miss class to observe a religious holiday should notify the instructor by the end of the Add/Drop period to make prior arrangements for making up any work that will be missed. The final exam period runs until ____________

ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.

STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.

SCHEDULE

SCHEDULE

Please note that this schedule is subject to change.

WEEK 1: EPIC & FASCIST ROME

Monday, July 2

- Introduction and in-class readings

- Screening: Night on Earth--Rome episode with Roberto Benigni (1991, dir. Jim Jarmusch)

Readings for 7/3:

- Mora, Carl J. “The Image of Ancient Rome in the Cinema”

- Steven Ricci, Cinema and Fascism: Italian Film and Society, 1922-1943 (University of California Press, 2008), pp. 95-104.

- Further readings:

- Reich, Jacqueline. "Mussolini at the Movies: Fascism, Film and Culture," in Re-Viewing Fascism: Italian Cinema, 1922-1943 (Indiana University Press, 2002), pp. 3-29. [Google Books, partial preview, with about 5 pages missing; you don't have to read the full version of the essay, but if you want to, the book is on reserve at the library.] https://books.google.it/books?id=KJ5Vx2luQhEC&printsec=frontcover&hl=it#v=onepage&q&f=false

Tuesday, July 3

- Screening: Scipione l’africano/Scipio Africanus: The Defeat of Hannibal (1937, 83 min, dir. Carmine Gallone) + Misc. Clips

- *Project #1 Assigned

Readings for 7/5:

- Mellen, Joan. “Fascism in the Contemporary Film.” Film Quarterly 24 (1971): 2-19.

- Marcus, Millicent. "Bertolucci's The Conformist: A Morals Charge," in Italian Film in the Light of Neorealism (Princeton University Press, 1986), pp. 285-312.

Wednesday, July 4

- Holiday, no class

Thursday, July 5

- Screening: Il conformista/The Conformist (1970, 112 min, dir. Bernardo Bertolucci)

Friday, July 6 (makeup class for July 4)

- Class discussion on The Conformist

- *Project #2 Assigned

- Readings for 7/9:

- Bordwell, David, and Kristin Thompson. Film Art: An Introduction. 8th Ed. ed. Boston: McGraw Hill, 2008. pp 459-461

- Shiel, Mark. “Imagined and Built Spaces in the Rome of Neorealism.” In Cinematic Rome, edited by Richard Wrigley, 27-42. Leicester, UK: Troubador Publishing, Ltd., 2008.

- Gottlieb, Sidney. Roberto Rossellini's Rome Open City. Cambridge University Press Film Handbooks Series. Cambridge: Cambridge University Press, 2004. pp. 1-16.