JCU Logo

JOHN CABOT UNIVERSITY

COURSE CODE: "IT 319 H"
COURSE NAME: "The Image of Rome in Italian Literature and Cinema - HONORS (This course carries 4 semester hours of credits. A minimum CUM GPA of 3.5 is required)"
SEMESTER & YEAR: Spring 2020
SYLLABUS

INSTRUCTOR: Federica Capoferri
EMAIL: [email protected]
HOURS: TTH 1:30 PM 2:45 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: Prerequisite: Placement, IT 302 or permission of the instructor
OFFICE HOURS:

COURSE DESCRIPTION:
This course, which is held in Italian, explores the image of Rome in Italian twentieth century literature and cinema. Literary and cinematic representations not only mirror in different ways the actual geographical, social, and cultural landscape of a city, but they also participate in shaping its identity and its self-representation. The course aims at providing students with critical keys to understanding this multilayered relationship in its different expressions.
SUMMARY OF COURSE CONTENT:
This course, which will be held in Italian, will explore the image of modern and postmodern Rome in literature and cinema. Literary authors such as Alberto Moravia, Pier Paolo Pasolini, and Ennio Flaiano's works will be studied and critically discussed by focusing on the formal and cultural relationships between their literary representation and the contemporary cinematic representations of Rome. In-class and at-home screenings will be interlaced with readings, and discussed in the light of their contributions the so-called Cinematic Rome.
LEARNING OUTCOMES:

Upon the completion of this course students should be able to:
-Understand literary and cinematic texts in their relationship with a specific socio-geographical context and tradition.
-Demonstrate an in-depth knowledge of the literary and cinematic traditions that have shaped the image of Modern and Postmodern Rome.
-Use an interdisciplinary approach to Italian literature and cinema.
-Apply advanced reading and writing skills in Italian language.

TEXTBOOK:
NONE
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Two (2) take-home papersTake-home paper 1 on a given topic. Students are required to use readings, class discussions, and at least 2 extra sources in their answers. 4 pages, 1.5 spaced.Total 20%
Attendance and participationParticipation means come to class prepared on readings and screenings, be ready to interact with class discussions, to ask and answer questions. Please note that smartphones, computers, and any other devices are prohibited from the beginning to the end of the class. Disregarding this rule will result in a 0 in this portion of your grade. Students are expected to arrive on time and not leave the class earlier (also to not use class time to go to the bathroom). Late arrivals and earlier leaving will count as half absence.. More than 2 absences will lower your grade in this part of the assessment (-2pts for each extra absence).15%
Midterm ExamAn in-class exam based on materials covered in class. Short questions and essay.20%
Final Exam+Final paperIn-class CUMULATIVE exam based on short answers and a critical essay. 6 pages final paper on a topic previously approved by the Instructor25 %
Oral Presentation A 30 minutes presentation based on materials studied in class. The purpose of the presentation is to provide the other students with additional critical ideas, materials, sources to the ones studied in class. Topic to be discussed and approved by Professor. extra critical materials to reflect on to the class. 15%
One book and one movie review2 pages each. 5%

-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:
Regular attendance is an essential component of class participation. Students are allowed two(2) absences. Additional absences will lower the final grade (2 points for each absence) 
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

PLEASE NOTE THAT THE INSTRUCTOR CAN MAKE CHANGES TO THE SCHEDULE

MANDATORY EVENT: APRIL 6, h 18 Roundtable on Fellini with F. Burke, F. Capoferri, and C;Ciampaglia

Session

Session Focus

Reading Assignment

Other Assignment

Meeting Place/Exam Dates

Week 1
JAN. 21, 23

-Introduction to the course. Key-concepts and critical trajectories to frame 'modern' Rome.

 Excerpts from G.G. Belli's Sonetti and from Michael Sullivan's translations Vernacular Sonnets. Poems.

 

 

Week 2
JAN. 28, 30

Belli's legacy in XX century Italian literature and cinema.
Clips from Bernardo Bertolucci, La comare secca and from Ettore Scola, Gente di Roma.

P.P.Pasolini, Ragazzi di vita
Last chapter,  
Flaminio Di Biagi, Il cinema a Roma, pp. 7-54.

 

 

Week 3
FEBR. 4, 6

Rome disappearead II. The impact of popular culture on high-culture. Clips from Fellini's Lo sceicco bianco.

 P.Cudini, Introduzione to Racconti romani).

 F. Di Biagi, Il cinema a Roma, pp. 94-98.

 A. Moravia, Il provino, Faccia di mascalzone, la controfigura.

Home screening: L. Visconti. Bellissima.

 

week 4
FEBR. 11, 13

Cinecittà as the “Hollywood on Tiber”. Discussion on Moravia’s short-stories and Visconti’s Bellissima.

F. La Porta, Roma è una bugia, "Prologo" and "Cimiteri romani (o della commare secca").

 

 

week 5
FEBR. 18, 20

Pasolini's Rome. Clips from Accattone, Mamma Roma, La ricotta.

D.J. Rhodes, Stupendous, Miserable City: "Introduction" 

Home screening: P.P.Pasolini, Accattone.

 PAPER I DUE ON FEB. 20
NO LATE ASSIGNMENTS WILL BE ACCEPTED

week 6
FEBR. 25, 27

Pasolini's legacy in Italian cinema. Clips from Bolognini, La notte
brava
and Una giornata balorda; clips from Caligari's Amore tossico.

Reading: Stupendous, Miserable City: chapter on Accattone.

 

 

week 7
MARC 3, 5

REVIEW FOR MIDTERM
MIDTERM
Fellini's Rome.

E. Flaiano, "Fogli di via Veneto" (La solitudine del satiro), pp. 235-261.
F. La Porta, Roma è una bugia.

 

 

SPRING BREAK MARCH 9-15

Week 8
MARCH 17, 19







Fellini's Rome.
Rome during the Sweet life. 


 


E. Flaiano. La solitudine el satiro: "Fogli di via Veneto"

F. Di Biagi, Il cinema a Roma, pp.187-189.
F. La Porta, Roma è una bugia. "Crollo di rovine e nuvole gonfie" and "L'esperienza nelle pause"

Home screening: F. Fellini, La dolce vita.

 SPRING BREAK ASSIGNMENT; F. La Porta, Roma è una bugia, pp. 11-28.

Week 9
MARCH 24, 26

Towards a Postmodern Rome.

F. La Porta, Roma è una bugia. "Il lungomare che non c'è (sul Gra)"

Home screening: F. Fellini's Roma.

 

Week 10
MARCH 30, APRIL 2

Rome in the 70’s- The literary and cinematic tradition of Trastevere. Clips from F. Tozzi, Trastevere.

 

Reading: F.La Porta, Roma è una bugia. "Rugantino al potere (Trastevere).
S. Petrignani, E in mezzo il fiume. Capitolo 1.

 

Week 11
APR. 7, 9

Cinematic Rome in the Third Millennium.


F. La Porta, Roma è una bugia. "Il Pantheon e la bella giornata di Duddù", "I Parioli: parco a tema"

Home screening: P. Sorrentino, La grande bellezza.

 

Week 12
APRIL 14, 16

Global and local Rome(s).
Clips from Rosi's Sacro GRA, Botrugno e Coluccini's Il contagio, D'Innocenzo bros' La terra dell'abbastanza.

F. La Porta, Roma è una bugia; "Periferie dolenti o felici? (San Basilio, o cronaca di una catabasi urbana).

Home screening:
G. Mainetti, Lo chiamavano Jeeg Robot.

 PAPER 2 DUE ON THURSDAY 16.

Week 13
APRIL 21, 23

Oral Presentations

F. La Porta, Roma è una bugia. "Ancora la periferia...".
I. Scego, La mia casa è dove sono, selection.


 

Week 14
APRIL 28, 30

Postcolonial Rome. Clips from P. Bhuiyan's Bangla.
Conclusions and Review for Final.