|
|
JOHN CABOT UNIVERSITY
COURSE CODE: "CMS/TH 241"
COURSE NAME: "Italian Cinema"
SEMESTER & YEAR:
Spring 2014
|
SYLLABUS
INSTRUCTOR:
Federica Capoferri
EMAIL: [email protected]
HOURS:
MW 1:30 PM 3:30 PM
TOTAL NO. OF CONTACT HOURS:
45
CREDITS:
3
PREREQUISITES:
This course carries 3 semester hours of credit.
OFFICE HOURS:
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’s, Moretti.Film screenings will be supplemented by lectures, class discussions and readings
|
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:
|
REQUIRED RESERVED READING:
| Book Title | Author | Publisher | ISBN number | Library Call Number | Comments |
| Italian Film in the Light of Neorealism | M. Marcus | Princeton UP | 0 691 10208 2 | | |
RECOMMENDED RESERVED READING:
|
GRADING POLICY
-ASSESSMENT METHODS:
| Assignment | Guidelines | Weight |
| attendance and ACTIVE participation to the class discussion | Please note that texting, checking your messages, using your smartphone, i-phone, etc will be considered as an ABSENCE. No i-pod, i-pad, and any kind of technological devices are allowed during the screenings and the class discussions. POP-QUIZZES ON READINGS AND SCREENINGS WILL BE GIVEN TO CHECK YOUR REGULAR WORK. | 15% |
| screening notes | Questions on each movie will be distributed each week and collected twice a semester. 2 POINTS less for each day of delay. | 20% |
| oral presentations | 15 minutes oral presentations | 10% |
| FINAL EXAM | iN-CLASS EXAM BASED ON 1) SHORT QUESTIONS (CREDITIS, GENERAL NOTIONS, ETCS). 2) Brief answered on specific critical keys. 3) essay. | 30% |
| midterm exam | In class exam. Questions on readings, screenings, and a 3-4 pages 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 cours
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 this course. Students are allowed three (3) absences. Additional absences will lower the participation portion of the grade considerably. |
|
|
| Please refer to the university catalog for the attendance and absence policy. |
Please refer to the university catalog for the attendance and absence policy.
|
|
|
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 CHANGES IN THE SCHEDULE COULD BE MADE BY THE INSTRUCTOR
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
P. Brunette, Open City (on-line resource)
|
|
|
|
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.
A. Bazin, De Sica Metteur en Scène, pp 61-68 (available on line)
|
|
|
|
WEEK 3
WEEK 4
|
Neo-Realism II: An Aesthetic Approach. Lecture and class discussion Screening: Riso Amaro (Bitter Rice, De Santis, 1949)
Comedy Italian Style. Screening: I soliti ignoti (Big Deal on Madonna Street, 1958, Mario Monicelli)
|
Millicent Marcus, De Santis's Bitter Rice. A neorealist hybrid. M. P. Wood, Italian Cinema, pp. 82-109 (on reserve)
Readings: P. GInsborg, "The Economic Miracle";
P. Bondanella, "La dolce vita, The Art FIlm Spectacular".
|
Home Screening: La dolce vita (1960, F. Fellini).
|
|
|
WEEK 5
|
Lecture and class discussion
:Pasolini VS Fellini. --Screening Mamma Roma-- Pier Paolo Pasolini (1962)
|
P. Sorlin, "Fourth Generation".
D.Rhodes, Stupendous, Miserable City- Chapter 5 (ebook Frohring Library)
|
Home screening: Pasolini’s La ricotta (in the dvd 2 Mamma Roma).
Screening notes due
|
|
|
WEEK 6-
|
Class Discussion.
Screening: Deserto Rosso (1964). Michelangelo Antonioni.
|
Marcus’ Chapter on Deserto Rosso.
|
|
|
|
WEEK 7
|
Class Discussion-Review for Midterm
W: MIDTERM
|
|
|
|
|
WEEK 8
|
Screening B. Bertolucci's Il conformista (1970)
Class Discussion
|
M. Marcus, chapter on Il conformista.
|
|
|
|
WEEK 9
WEEK 10
WEEK 11
WEEK 12
|
Class Discussion. Oral presentations
CInema and Politics in the 70's
--Screening E. Petri's Indagine su un cittadino al di sopra di ogni sospetto (1970)
History, CInema, and Cinema History.--Screening Ettore Scola's C'eravamo tanto amati (1974)—Class discussion -Oral presentations
Class Discussion.--Screening Nanni Moretti Caro diario (1993) - Oral Presentations
Class Discussion--Screening. Paolo Sorrentino- Il Divo (2008)- Oral presentations
|
Marcus, Power as Pathology
Mikel J Koven, What is giallo?, pp. 1-18
Marcus, Chapter on C'eravamo tanto amati.
F. Jameson, Postmodernism and Consumer Society, pp.1-20, 121
Marcus, Caro Diario and the CInematic Body of Nanni Moretti.
M. Gieri, New Italian Cinema: Restoration of Subversion?, pp. 198-223, pp. 261-268 (available on line)
|
Screening notes 2 due
|
|
WEEK 13
|
Class Discussion.
Screening.Pif. La mafia uccide solo d'estate (2013)- Oral presentations
|
|
|
|
|
WEEK 14
|
Class Discussion-
REVIEW FOR FINAL EXAM
|
|
|
|
|
|
READING LIST
1. Koven, Mikel J. “What is Giallo?” La Dolce Morte: Vernacular Cinema and the Italian Giallo Film. 1-18. Lanham, MD: Scarecrow Press, 2006.
2. Marcus, Millicent. “Caro diario and the Cinematic Body of Nanni Moretti.” After Fellini. 285-299. Baltimore, MD: Johns Hopkins University Press, 2002.
3. Ginsborg, Paul. “The ‘Economic Miracle’: Rural Exodus and Social Transformation, 1958-1963.” History of Contemporary Italy. 210-253, 499-508. London: Penguin Books, 1990.
4. Jameson, Frederic. “Postmodernism and Consumer Society.” The Cultural Turn. 1-20, 191. London: Verso, 2009.
5. Sorlin, Pierre. “Fourth Generation: The Sweet Life.” Italian National Cinema. New York: Routledge, 1996. EBL.
6. Rhodes, John. Stupendous miserable city. Pasolin’s Rome, University of Minnesota Press, 2007. (available also as ebook).
7. Bondanella, Peter. “La Dolce Vita: The Art Film Spectacular” In The Films of Federico Fellini. Cambridge: Cambridge University Press, 2002. ACLS Humanities Ebook.
8. Brunette, Peter. “Open City.” Roberto Rossellini. 41-60. Berkeley: University of California Press, 1996. http://publishing.cdlib.org/ucpressebooks/view?docId=ft709nb48d;query=;brand=ucpress
9. Bazin, Andre. What is Cinema? Vol. 2. Berkeley: University of California Press, 2004. ACLS Humanities Ebook.
- “De Sica: Metteur en scène,” 61-78.
– “Umberto D: A Great Work,” 79-82.
10. Manuela Gieri. “The New Italian Cinema: Restoration or Subversion?” Contemporary Italian Filmmaking. 198-232, 261-268. Toronto: Toronto University Press, 1995.
11. Wood, Mary. P. Italian Cinema, Berg 2005.
|
|
|
|