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JOHN CABOT UNIVERSITY

COURSE CODE: "CMS/TH 243-2"
COURSE NAME: "Cinematic Rome"
SEMESTER & YEAR: Spring 2014
SYLLABUS

INSTRUCTOR: Federica Capoferri
EMAIL: [email protected]
HOURS: TTH 9:00 AM 11:00 AM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: This course carries 3 semester hours of credit.
OFFICE HOURS: by appointment

COURSE DESCRIPTION:

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 a selected number of 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 and Pasolini's Rome; and Urban Angst, Roman Style.   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 are encorauged to visit cinematic landmarks in Rome and REQUIRED to attend the visit to Cinecittà organized by the Communication Department.

SUMMARY OF COURSE CONTENT:
The course is divided into weekly screenings and lectures/class discussions.Screenings are not supposed to be a "funny" moment of the class in which students can text, use facebook and come late. They are a crucial moment of the class.
LEARNING OUTCOMES:
1.  Students will become familiar with critically acclaimed films that prominently feature Roman landmarks and streetscapes.

2.  Students will develop their film criticism skills, with special emphasis on analysis of the mise-en-scène (film setting), memory construction, and the rhetoric of "places and spaces" (how the physical/symbolic setting influences us).

3.  Students will consider cinema as an expression of national or international culture, aesthetics, values, and politics.

4.  Students will gain an appreciation for the Italian film industry, including the leading role of Cinecittà.

5.  Students will hone their descriptive, experiential, and analytical writing skills through assignments tailored to foster personal engagement with the Eternal City
TEXTBOOK:
NONE
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Questionnaires (2)Two questionnaires composed of 5-6 questions each. Student are required to use readings, class discussions and additional readings and to develop their answers in a critical way.20 points
midterm examIn class exam based on readings, screenings and class discussion. Structure: 1) descriptive part (credits, general questions on movies and readings) 2) Critical part. A short essay aimed to develop critical thinking.25%
class participationStudents are required to come to the class with all their readings done and to ACTIVELY partecipate to the discussion.10
Group project on a specific Roman locationStudents will select by the Midterm week a location to be visited, analyzed and discussed with the class. more detailed guidelines will be provided in class10%
Visit to CInecittà and written report Details about the field trip will be provided during the course. Students will be required to write a 2 pages report.5%
Final examIn class CUMULATIVE exam. Structure: 1) descriptive part: short questions on movie credits and on readings. 2) Critical essay30 %

-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:
Attendance is required. Students may miss up to 3 class periods without grade penalty. If unexcused, 4 or 5 absences will result in an F grade for attendance. More than 3 absences will result in an F grade for the course.
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 to the course.

Screening: To Rome with Love (W. Allen, 2012)

Readings:

1) David B. Clark “Previewing the Cinematic City” in D. Clark (ed). The Cinematic City. London: Routledge, 1997, pp. 1-18. (Library Reserve)

2) Richard Wrigley (ed). Cinematic Rome. Leicester UK: Troubador Publishing. 2008. introduction. Library Reserve.

3) David Forgacs. “ Film Culture in Rome”, Film Quarterly, Vol. 61, No. 3 (Spring 2008), pp. 40-45 (jstor)

Week 2. .

Fascist Rome

Screening: Scipione l’africano (1937) dir. Carmine Gallone

Readings:

1) Ricci, Steven. Cinema and Fascism: Italian Film and Society, 1922-1943 (University of California Press, 2008), pp. 95-104. (ebook).

2) Reich, Jacqueline. "Mussolini at the Movies: Fascism, Film and Culture," in Re-Viewing Fascism: Italian Cinema, 1922-1943 (Indiana University Press, 2002), pp. 3-29.
 

Week 3,
Neorealist Rome

 Screening: Umberto D. (1952) dir. Vittorio De Sica

Required full viewing at home: Rome Open City (Roberto Rossellini, 1945); Bicycle Thieves (Vittorio De Sica, 1946). (Library)

Readings:
Shiel, Mark. “Imagined and  Built Spaces in the Rome of Neorealism.” In Cinematic Rome, edited by Richard Wrigley, 27-42. Leicester, UK: Troubador Publishing, Ltd., 2008.  


Week 4.  
Americans in Rome

Screening: Roman Holiday (1953) dir. William Wyler

Clips from: Three Coins in the Fountain (Jean Negulesco, 1955); When in Rome (Mark Steven Johnson, 2010).

Readings

1) Shandley, Robert.  “How Rome Saved Hollywood.” In Cinematic Rome, edited by Richard Wrigley, 53-62. Leicester, UK: Troubador Publishing, Ltd., 2008.


Week 5
Romans and US 
Screening: Un Americano a Roma (1954) dir. Steno

Take-home assignment I DUE .

Week 6,
Fellini's Rome 1
Screening, Lo sceicco bianco (F. Fellini)
required full viewing at home of La dolce vita (1960); Clips from: Fellini Satyricon (1969

Readings:


1) Gordon, Mary. “Rome: The Visible City.” Salmagundi 124 (1999): 79-94. (jstor)

2) Harcourt, Peter. “The Secret Life of Federico Fellini.” Film Quarterly 19 (1966): 4-19. (jstor)



Week 7 Fellini's Rome 2
Screening, Fellini's Roma (1972)
Readings:
1) Paul, Joanna. “Rome Ruined and Fragmented: The Cinematic City in Fellini-Satyricon and Roma.” In Cinematic Rome, edited by Richard Wrigley, 109-121. Leicester, UK:  Troubador Publishing, Ltd., 2008.

week 8
MIDTERM -- GROUP PROJECT TOPIC DUE

 The Roman Borgata

Screening: Accattone (1961) dir. Pier Paolo Pasolini

Readings:

1) Keala J. Jewell, “Pasolini: Deconstructing the Roman Palimpsest” in SubStance, Vol. 16, No. 2, Issue 53: Contemporary Italian Thought (1987), pp. 55-66 (jstor)

2) Rhodes, John David. A brief history of Roman Periphery. Stupendous, Miserable City. (University of Minnesota Press, 2007)
3) Rhodes, J. D. ibidem, Chapter on Accattone

Week 9,
Pasolini's Rome 2.
Excerpts from Mamma Roma, La ricotta, La terra vista dalla luna, La sequenza del fiore di Carta
Readings. Rhodes J,D, chapters on movies discussed in class.

Week 10
Modernist Rome

Screening: L’Eclisse (1962) dir. Michelangelo Antonioni
Class discussion and Group Presentation I

Readings:

1) Benci, Jacopo. “Michelangelo’s Rome: Towards an Iconology of L’Eclisse.” In Cinematic Rome, edited by Richard Wrigley, 63-85. Leicester, UK: Troubador Publishing, Ltd., 2008.

Week 11,
Periphery and Center.

Discussions and Group Presentation 2
take-home questions/answers 2 DUEtake-home questions/answers 2 DUE

Ostia.
Group Presentation 3
Clips from S. Citti, Ostia; C. Caligari, Amore tossico, N. Moretti, Caro diario


Week 12.
Rome in the Third Millenium
Screening. Le fate ignoranti (2001) dir. Ferzan Őzpetek.
Group Presention 4.

Readings:

1)       Lesley Cladwell. “The Consistency of Location” in R. Wrigley (ed) Cinematic Rome, pp. 121-132.

2)       Luca Caminati. “Filming Coming Communities: Ferzan Ozpetek’s Le Fate Ignoranti”. Italica, Vol 85, No. 4, (Winter, 2008), pp. 455-464 (jstor)

Week 13. TODAY Rome(s)

P. Sorrentino, La grande bellezza. (2013)
TBD

Week 14 Today Rome(s). Part II
Sacro Gra (G. ROSI)
TBD

Conclusions and review for Final Exam

LOCATIONS FOR GROUP PROJECTS:
1) EUR
2) PIGNETO/ MARRANELLA/MANDRIONE
3) OSTIENSE/GAZOMETRO/CENTRALE MONTEMARTINI
4) TRASTEVERE