Realist, modernist and post-modernist aesthetics will be discussed in relation to Italian cinema, in particular, and Italian society in general. Directors to be treated include (but are not limited to) De Sica, Rossellini, Fellini, Antonioni, Risi, Monicelli, Bertolucci, Scola, Pasolini and Moretti. Film screenings will be supplemented by lectures, class discussions and readings.

Students will gain:

· ability to analyze film texts using specific theoretical approaches

· ability to write analytical essays that employ specific critical frameworks

· ability to discuss key social, political, and economic events, and movements in contemporary italian history.

A:  Work 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.

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 evaluate theory 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.

Attendance and participation are 30% of your grade. Students are obviously supposed to watch all the movies. Arriving more than 15 minutes late means an absence. Movies have to be seen from the beginning to the end- leaving early for no reason means an absence too. More than 3 unexcused absences will result in an F (Fail) grade for Attendance & Participation. More than 5 unexcused absences will result in failing the course.

NB: The use of laptop computers and other electronic devices during class is NOT permitted. that means No laptop, cell phone, ipod, iphone are allowed in class. Absolutely no texting!

WEEK 1

NEOREALISM 1: CINEMA, NATION, HISTORY

Screening:

Rome, Open City/Rome città aperta (Roberto Rossellini, 1945)

Martin Scorsese’s “Voyage into Italian Cinema” (CLIPS)

Reading: 

P. Ginsborg – A history of Contemporary Italy, pp. 10- 17 (on reserve)                     

M. Marcus – “Introduction” to Italian Film in the Light of Neorealism (Princeton University Press, 1987), 18-29.          

M. Marcus – “Rossellini’s Open City: The Founding” in Italian Film, 33-53. 

P. Brunette “Open City” pp. 41-60 (reader)

WEEK 2

NEOREALISM 2: POLITICS AND AESTHETICS

Screening:

The Bicycle Thief/Ladri di biciclette (Vittorio De Sica, 1948)

Reading:      

M. Marcus – “De Sica’s Bicycle Thief: Casting Shadows on the Visionary City,” in Italian Film, 54-75.

A. Bazin, De Sica Metteur en Scène, pp 61-68 (reader)

WEEK 3

NEOREALISM 3: EXPLORING THE BOUNDARIES

Screening:

Bitter Rice/Riso amaro (Giuseppe De Santis, 1948)

Umberto D (De Sica) (clips from Voyage Into Italian Cinema)

Reading:             

 M. Marcus – “De Santis’s Bitter Rice: A Neorealist Hybrid,” in Italian Film, 76-95.

A. Bazin – “An Aesthetic of Reality: Neorealism,” in What is Cinema?, 16-40. (READER)

A. Bazin – “Umberto D,” in What is Cinema? 79-82. (READER)

WEEK 4

THE ECONOMIC MIRACLE: MODERNIZATION AND MIGRATION

Screening:

Big Deal on Madonna Street/I soliti ignoti (Mario Monicelli, 1958)

Reading:

Paul Ginsborg – “The ‘Economic Miracle’: Rural Exodus and SocialTransformation, 1958-1963,” in History of  Contemporary Italy, 210-253 (READER).

WEEK 5

ITALY IN THE 60S: The definition of comedy Italian style

Screening:

Il Sorpasso (Dino Risi, 1962)

Reading:

Pierre Sorlin – “Fourth Generation: The Sweet Life” in Italian National Cinema, 115-143. (READER)

WEEK 6

THE ECONOMIC MIRACLE take 2: a real social and cultural change? (documenting the 60s)

Screening: COMIZI D’AMORE  (PIER PAOLO PASOLINI, 1964)

“Whoever says the truth shall die” –documentary about Pasolini

READING:

TBD

WEEK 7:

BEYOND NEOREALISM: ITALIAN MODERNIST AUTEURS take 1: FELLINI

Screening

8 1/2  (Federico Fellini, 1963)

Reading:

Peter Bondanella – “8 1/2 The celebration of artistic creativity” in The Films of Federico Fellini (Cambridge University Press, 2002), 65-92 (E-book).

Lecture and review for MIDTERM

WEEK 8

TUESDAY: MIDTERM EXAM

THURSDAY  BEYOND NEOREALISM: ITALIAN MODERNIST AUTEURS take 2: ANTONIONI

SCREENING:

BLOW UP (Michelangelo Antonioni, 1966)

READING:

S. Chatman – “‘Il provino’ and Blow Up” in Antonioni: Or, The Surface ofthe World (University of California Press, 1985), 136-158. (E-book).

WEEK 9

RETHINKING THE PAST, QUESTIONING THE PRESENT:

Screening:

The Conformist/Il conformista (Bernardo Bertolucci, 1970)

Reading:             

M. Marcus – “Bernardo Bertolucci’s The Conformist: A Morals Charge,” in Italian Film, p. 285-312.

WEEK 10

Questioning the present: comparing Bertolucci’s and Scola’s representation of the past.

Screening: We all loved each other so much (ETTORE SCOLA, 1977)

Reading:              

M. Marcus - "We all loved each other so much: an epilogue" 391-421 in Italian Film in the light of neorealism  (Princeton University Press, 2001), 253-274.

PRESENTATION PROPOSAL DUE THIS WEEK!

WEEK 11

GENDER and CLASS CONFLICT in 1970s ITALY

Screening:

SWEPT AWAY (LinaWertmüller, 1975)

Reading:          

M. MARCUS “ WERTMULLER’s LOVE AND ANARCHY: THE HIGH PRICE OF COMMITMENT” p. 313-338 in Italian Film in the light of neorealism  (Princeton University Press, 2001).

WEEK 12

GENRE ITALIAN STYLE:

SCREENING: “DEEP RED” (DARIO ARGENTO, 1975)

READING :

M.K. KOVEN “WHAT IS GIALLO?” (reader)

F. Jameson, Postmodernism and Consumer Society, pp. 1-20, 121 (reader)

WEEK 13

THE 1980s AND 1990s: “NEW ITALIAN CINEMA” 

Screening:

Caro Diario/Dear Diary (Nanni Moretti, 1993)

Reading:          

M. Marcus – “Caro diario and the Cinematic Body of Nanni Moretti,” in After Fellini (Johns Hopkins University Press, 2002), p. 285-299 (reader).

M. Gieri. “The New Italian Cinema: Restoration or Subversion?” in Contemporary Italian Filmmaking.  p. 198-232, 261-268 (READER).

TH.  CLASS PRESENTATIONS AND REVIEW

WEEK 14

CLASS PRESENTATIONS AND REVIEW

WEEK 15

FINAL EXAM