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JOHN CABOT UNIVERSITY
COURSE CODE: "CMS/ITS 243"
COURSE NAME: "Cinematic Rome"
SEMESTER & YEAR:
Summer Session II 2024
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SYLLABUS
INSTRUCTOR:
Vito Zagarrio
EMAIL: [email protected]; [email protected]
HOURS:
MTWTH 3:40 PM 5:30 PM
TOTAL NO. OF CONTACT HOURS:
45
CREDITS:
3
PREREQUISITES:
This course carries 3 semester hours of credit.
OFFICE HOURS:
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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
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SUMMARY OF COURSE CONTENT:
This course will evaluate and discuss a few primary films, along with excerpts and clips from other movies. We will consider the following main topics: 1) The epic Rome of the ancient times and the “myth” of the Empire during the Fascist regime; 2) The representation of Rome during the so called Neorealism; 3) Rome according to the big Masters of Italian Cinema, from Fellini to Pasolini, from Antonioni to Sorrentino; 4) The myth of Rome for Hollywood and, viceversa, the American Myth for the Italian film; the representation of Rome in the Italia Genre film (specially comedy and detective stories).
Films are shown in the original Italian version with English subtitles.
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LEARNING OUTCOMES:
- Students will become familiar with critically acclaimed films that prominently feature Roman landmarks and streetscapes.
- They will develop their film criticism skills, with special emphasis on analysis of the mise-en-scène (directorial work).
-They will consider cinema as an expression of national or international culture, aesthetics, values, and politics.
- They will appreciate the Italian film industry, including the leading role of Cinecittà (“Hollywood on the Tiber”).
- They will will learn how to analyze film texts using specific historical, cultural, and theoretical approaches.
- They will marry the curiosity of “visitors” with a reflection on the importance of the film locations in Rome
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TEXTBOOK:
| Book Title | Author | Publisher | ISBN number | Library Call Number | Comments | Format | Local Bookstore | Online Purchase |
| History of Italian Cinema | Peter Bondanella, Federico Pacchioni | London, Bloomsbury, London | 1501307630 | | | | | |
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REQUIRED RESERVED READING:
RECOMMENDED RESERVED READING:
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GRADING POLICY
-ASSESSMENT METHODS:
| Assignment | Guidelines | Weight |
| Attendance, Participation and Discussion in class | Students are expected to actively and critically participate to class discussions. | 25% |
| Midterm Exam | The midterm exam is a in class exam. Questions on readings, screenings, and a 3-4 pages essay on a given topic. | 25% |
| Oral Presentation | The oral presentation is organized by groups. The presentation topic is discussed with the professor. The students will choose the composition of the group and the format (power point, video, clips, and so on). | 25% |
| Final Exam | The final exam is a in-class exam with questions on readings and class discussions + a critical essay on a given topic. | 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 ____________
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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.
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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.
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SCHEDULE
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SCHEDULE
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Week 1
July 1-4
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Epic Rome and Fascist Rome
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Monday 1
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Introduction to the course.
Film screening: Il primo re (The First King) by Matteo Rovere (2019).
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Tuesday 2
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Lecture: The representations of Ancient Rome in both Italian and international movies
Clips from: Gladiator (2000) by Ridley Scott; Cabiria (1914) by Carmine Gallone; Ben-Hur (1959) by William Wyler; Cleopatra (1963) by Joseph L. Mankiewicz, Spartacus (1960) by Stanley Kubrick
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Wednesday 3
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Screening: Il conformista (The Conformist, Bernardo Bertolucci, 1970).
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Thursday 4
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Lecture: Rome, the Fascist Cinema and the representation of Fascism in post-war cinema.
Fascism revisited: scenes from Una giornata particolare, 1977, by Ettore Scola
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Week 2
July 8-11
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Neorealist Rome
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Monday 8
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Screening: Open City by Roberto Rossellini, 1945.
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Tuesday 9
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Lecture: The representation of Rome in the Postwar period
Sequences from Paisà (Paisan), 1946, by Roberto Rossellini (the Roman episode)
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Wednesday 10
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Screening: Bycicle Thief by Vittorio De Sica, 1948
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Thursday 11
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Clips from Sciuscià (Shoe Shine), 1946, by Vittorio De Sica, Umberto D. (1952) by Vittorio De Sica
Rome and the “reality” of life.
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Week 3
July 15-18
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American Myth/Italian Myth
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Monday 15
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Film screening: Roman Holiday (1953) by William Wyler
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Tuesday, 16
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Lecture: The myth of Rome in Hollywood, the American myth in Italian Cinema
Clips from: Un americano a Roma (Steno, 1954), To Rome With Love (Woody Allen, 2012), The Belly of an Architect (Peter Greenaway, 1987).
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Wednesday, 17
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Film screening: The Great Beauty by Paolo Sorrentino, 2013
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Thursday, 18
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Lecture: the myth of Rome abroad
A comparison between The Great Beauty and Fellini’s Dolce vita
Homework: La dolce vita (1960) by Federico Fellini
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Week 4
July 22-25
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“Auteur” Rome
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Monday, 22
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Screening: Roma (1972) by Federico Fellini
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Tuesday, 23
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Lecture: Fellini and Rome
Sequences from: Lo sceicco bianco (The White Sheik, 1952), Le notti di Cabiria (1957); Fellini Satyricon (1969)
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Wednesday, 24
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Screening: Accattone (1961) by Pier Paolo Pasolini
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Thursday, 25
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Lecture: Rome, between lower class and bourgeoisie
Sequences from Mamma Roma by Pier Paolo Pasolini, L’Eclisse (1962) by Michelangelo Antonioni, L'ora di religione by Marco Bellocchio (2003)
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Week 5
July 29- August 1
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Rome and the genres
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Monday 29
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Film screening: C’eravamo tanto amati (We All Loved Each Other So Much) by Ettore Scola, 1974.
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Tuesday, 30
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Rome in the Italian Comedy
Clips from I soliti ignoti (Big Deal in Madonna Street) by Mario Monicelli, 1959, Il sorpasso by Dino Risi, 1962, Smetto quando voglio by Sidney Sibilia, 2014, C’è ancora domani by Paola Cortellesi, 2023
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Wednesday 31
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Film screening: Come pecore in mezzo ai lupi by Lyda Patitucci
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Thursday, August 1
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The New Italian Cinema and the Film Noir
Clips from, L’ultima notte d’amore by Andrea Di Stefano, 2023
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Friday, August 2
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FINAL EXAM
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