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JOHN CABOT UNIVERSITY

COURSE CODE: "TH/CMS 241-2"
COURSE NAME: "Italian Cinema (Visiting students: during registration this course is listed as CMS/TH 241)"
SEMESTER & YEAR: Spring Semester 2012
SYLLABUS

INSTRUCTOR: Capoferri Federica
EMAIL: [email protected]
 HOURS: MW 14:00-16:05
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES:
OFFICE HOURS: MW 12:30-13:30 and by appointment
COURSE DESCRIPTION:
This course will present a survey of films, directors and film styles in Italy from the 1940’s to the present. The films will be investigated as aesthetic objects in their own right and in their relation to the wider social and cultural environment of post-war Italy. Cinema’s role as a tool of historiographic inquiry will also be investigated
SUMMARY OF COURSE CONTENT:
Realist, modernist and post-modernist aesthetics will be discussed in relation to Italian cinema, in particular, and Italian society, more in general.Directors to be treated include (but are not limited to) De Sica, Rossellini, Fellini, Pasolini, Visconti, Risi, Monicelli, Petri, Bertolucci, the Taviani’, Moretti, and Sorrentino--Film screenings will be supplemented by lectures, class discussions and readings-
Please note that. in addition to the textbook, this course requires a Reader (to be ordered at the Library).
LEARNING OUTCOMES:

Students will learn how to analyze film texts using specific theoretical approaches

· students will learn how to write analytical essays that employ specific critical frameworks

· students will learn and be able to discuss key social, political, and economic events, and movements in contemporary italian history.
TEXTBOOK:
Book TitleAuthorPublisherISBN numberLibrary Call NumberCommentsFormatLocal BookstoreOnline Purchase
Italian CInema in the Light of NeorealismM. MarcusPrinceton UP0 691 10208 2      
Italian FIlm in the Light of NeorealismM.MarcusPrinceton UP0691192082     
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Class Discussion-Partecipation 10%
Screening notes- two sets 20%
Midterm ExamComposed by: 1) Short answers 2) Critical explanation of concepts 3) Essay25%
Final examComposed by: 1) Short answers (notions/information) 2) Critical explanation of key-concepts 3) essay30%
Final paper10-12 pages on a topic previously discussed with the Instructor15%

-ASSESSMENT CRITERIA:

Assessment Guidelines for assigning main letter grades: A, B, C,D, and F.

A:  Work of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensiveknowledge 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.

B:  This 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.

C:  This is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.

D:  This 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.

F: This 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:
Students are obviously supposed to watch all the movies. More than 10 minutes late, means an absence- Movies have to be seen from the beginning to the end-
No laptop, cell phone, ipod, iphone allowed in class.
Professor will not redistribute handouts and other materials to absent students. Please, if absent, contact your classmates and come to the next class prepared. Handouts distributed in class won't be given out in the following classes or sent by email by the Professor
More than 3 absences will affect your final grade.
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

Week 1

Introduction: Cinema, History, Nation. Thinking about Film, History and Narratives Screening: Roma Città Aperta (Rome Open City, Rossellini, 1945)

M. Marcus, Introduction to Italian FIlm in the Light of Neorealism, pp. 3-29; Rossellini's Open City: The founding, pp. 33-53
Reader: P. Brunette, Open City, pp. 41-60

 

 

Week 2

Neo-Realism I: A Historical Approach. Lecture and class discussion Screening: Ladri di Biciclette (Bicycle Thief, De Sica, 1948).

Millicent Marcus. De Sica's Bycicle Thief: Casting shadows on the visionary city.
 Reader. A. Bazin, De Sica Metteur en Scène, pp 61-68

 

 

 

 

 

 

 

Week 3

Neo-Realism II: An Aesthetic Approach. Lecture and class discussion Screening: Riso Amaro (Bitter Rice, De Santis, 1949)

Millicent Marcus, De Santis's Bitter Rice. A neorealist hybrid.
M. P. Wood, Italian Cinema, pp. 82-109 (on reserve)

 

 

week 4

Neorealism meets Hollywood. Lecture and class discussion Screening: Umberto D. (De Sica, 1952) Neorealism(s).

M. Marcus, De Sica's Umberto D: Dark victory for Neorealism.
Reader-- A. Bazin, Umberto D A great work, pp. 79-82, and Cabiria. A voyage to the end of Neorealism, pp. 83-92

Screening notes due on Thursday

 

Week 5

The decline of Neorealism and the transition to the Commedia all'Italiana. Screening: I Soliti Ignoti (Big Deal on Madonna Street), Monicelli, 1958

Wood, Italian Cinema, pp. 35-52 (on reserve).
Reader: P. Ginsborg, The Economic Miracle, pp.210-253, pp.499-508. P. Sorlin, The fourth generation-- the Sweet Life, pp.115-143; P.Sorlin, Beyond Neorealism, Character and Narrative in Early Fellini, pp.121-149

Home screening: Fellini's La dolce vita (1959)

 

week 6

Lecture and class discussion:Boom: Italian Style/Fast Cars, Culture and Consumption Screening: Germi's Divorzio all'italiana

M.Wood,Italian Cinema (on reserve), pp. 110-123.
Reader, P. Bondanella, La dolce vita, pp. 65-92, pp. 170-172

 

 

week 7

Review for Midterm
MIDTERM

 

 

 
         
         

week 8

Modernization and the Economic Miracle- Lecture and class discussion Screening Mamma Roma-- Pier Paolo Pasolini (1962)

http://www.arts.ualberta.ca/cms/iovino.pdf
www.johncabot.eblib.com/patron/FullRecord.aspx?=200409

Home screening: Pasolini's La ricotta

 

week 9

Pasolini vs Fellini- Lecture and class discussion
Screening: M. Antonioni's Blow up (1967)

Reader: S. Chatman, Il provino and Blow up, pp.136-158

 

 

week 10 

The surface of the world. Class discuss on Antonioni's cinema
Screening B. Bertolucci's Il conformista (1970)

M. Marcus, chapter on Il conformista.
Reader: A. Delle Vacche, Fascism after 1968, pp. 57-92

 

 

Week 11

Cinema and Politics in the 70's
Screening E. Petri's Indagine su un cittadino al di sopra di ogni sospetto (1970)
Lecture and class discussion



History, CInema, and Cinema History.  Screening Scola's C'eravamo tanto amati (1974)-- Class discussion

Marcus, Power as Pathology
Reader: Mikel J Koven, What is giallo?, pp. 1-18

Marcus, Chapter on C'eravamo tanto amati.
Reader F. Jameson, Postmodernism and Consumer Society, pp.1-20, 121

Screening notes due on Thursday

 

week 12

 

 

Topic and outline for the final paper due

 

Week 13

Italian CInema in the 90's-
Screening N. Moretti, Caro Diario (1993)
Class Discussion

Reader--M. Marcus, Caro Diario and the CInematic Body of Nanni Moretti, pp. 285-299. M. Gieri, New Italian Cinema: Restoration or Subversion?, pp.198-233, pp. 261-268

 

 

week 14

Cinema and Politics in the New Millennium
Screening P. SOrrentino, Il divo (2008)
Review for Final

Reader: R. Allen, From the Air, pp. 183-214