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JOHN CABOT UNIVERSITY

COURSE CODE: "CMS/TH 243"
COURSE NAME: "Cinematic Rome"
SEMESTER & YEAR: Spring 2015
SYLLABUS

INSTRUCTOR: Federica Capoferri
EMAIL: [email protected]
 HOURS: TTH 3:00 PM 5:00 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: This course carries 3 semester hours of credit.
OFFICE HOURS: by appointment
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
SUMMARY OF COURSE CONTENT:
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:a) Cinematic Rome After World War II; 2)“Americans” in Rome, and Rome in America 3) Roman screenscape during the Economic Miracle (Fellini, Pasolini, Antonioni 4)Fellini’s Rome: Cinecittà vs on-location shooting 5) Postmodern and today Rome. Students are encorauged to visit cinematic landmarks in Rome.
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 learn the key-elements of the urban, social and culture history of modern (post-unification) and contemporary Rome.

4-Students will learn how to consider cinema as an expression of national or international culture, aesthetics, values, and politics.
TEXTBOOK:
NONE
REQUIRED RESERVED READING:
Book TitleAuthorPublisherISBN numberLibrary Call NumberComments
CInematic ROmeRichard Wrigley (ed.)Troubadour, 20089781906510282  
Rome, Postmodern Narratives of a CityscapeDom Holdlaway, Filippo Trentin (eds)Pickering & Chatto, 201397884893349  
Stupendous MIserable CIty. Pasolini's Rome.David John RhodesU of Minnesota Press, 2007978-0816649303  

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 AT LEAST 2 additional readings FROM THE lIBRARY OR from peer-reviewed web sources.20 %
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 participate to the discussion. Students are required to have a learning-oriented behaviour both during class discussions and screenings. NO I-PHONE, COMPUTERS, and ANY OTHER DEVICE ARE ALLOWED IN CLASS. Students texting, checking their phones, and chatting with classmates during class will receive an F in this assignment10%
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%
attendanceMore than 2 absences will result in an F in this portion of your grade. More than 5 minutes late arrivals will count as 1|2 absence. Students leaving the classroom on regular basis for more than 5 minutes will be considered absent. Please note that attendance includes CInecittà field trip on April 17th.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:
no more than 2 absences.  
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 Instructor can make changes to the schedule:

Week 1.

Introduction to the course.

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

Readings:

1) Richard Wrigley (ed), Cinematic Rome, Leicester UK: Troubador Publishing. 2008. “Introduction”. Library Reserve.

2) Marco Cavietti, Between Rome’s Walls: Notes on the Role and Reception of the Aurelian Walls, in Dom Holdaway, Filippo Trentin, Rome, Postmodern Narratives of a Cityscape, London 2013.

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

Week 2. .

Class discussion: Cityscape vs Screenscape- The cinematic construction of a ‘fourth’ Rome.

Screening: Umberto D (De Sica, 1952).

Assignments:

Home-screening: Roma città aperta (Rossellini, 1945).

1) 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.

2) Millicent Marcus, Rossellini’s Open city: the Founding” in Italian Film in light of Neorealism, U of Princeton Press, 1986, pp. 33-53.
2) 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 3.

Class discussion: Rome before and after WWII. Neorealist Rome and the reaction against the Fascist Rome (‘third’ Rome). Excerpts from Scipione l’Africano (Gallone, 1937) and other pepla movies. Excerpts from Ladri di biciclette (De Sica, 1948) and other movies from Italian Neoralism.

Screening:Roman Holiday (Wyler, 1953)

Readings:

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


Week 4

Class discussion. American representation of Rome and the ‘Hollywood on Tiber’. Clips from: Three Coins in the Fountain (Jean Negulesco, 1955); When in Rome (Mark Steven Johnson, 2010).
Screening: Un Americano a Roma (Steno, 1954)

Readings: Cinecittà.

Week 5.

Class discussion. Excerpts from the documentary La Hollywood sul Tevere. Brief history of Cinecittà.

Screening, Lo sceicco bianco (Fellini, 1952)

Assignments:
Full viewing at home of La dolce vita (1960).

Readings:

1) Fabio Benincasa, The Explosion of a Postmodern Iconography; Federico Fellini and the Forma Urbis, in Rome, Postmodern Narratives of a Cityscape, cit., pp.39-50.

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

3) La dolce vita and Cinecittà (TBA)

QUESTIONNAIRE I DUE ON THURSDAY

Week 6

Class discussion: Fellini’s reaction to Neorealism.
Screening: Roma (Fellini, 1972)
Readings:
1) Fabio Benincasa, The Explosion of a Postmodern Iconography; Federico Fellini and the Forma Urbis, in Rome, Postmodern Narratives of a Cityscape, cit., pp.50-56.

2) Joanna Paul, Rome Ruined and Fragmented: The Cinematic City in Fellini-Satyricon and Roma., in Cinematic Rome, cit.,pp. 109-121. Leicester, UK:

3)Full viewing of Fellini’s Satyricon is STRONGLY encouraged.

Week 7

Class discussion: Fellini’s visionary Rome.

Review for Midterm

Week 8
MIDTERM -- GROUP PROJECT TOPIC DUE

Screening: Accattone (Pasolini, 1961)

Readings:

1) John David Rhodes, A brief history of Roman Periphery. Stupendous, Miserable City. (University of Minnesota Press, 2007) and Chapter on Accattone.
2) Keala J. Jewell, Pasolini: Deconstructing the Roman Palimpsest in “SubStance”, Vol. 16, No. 2, Issue 53: Contemporary Italian Thought (1987), pp. 55-66 (jstor)

Week 9,
Class Discussion: Pasolini's Rome .
Excerpts from Mamma Roma, La ricotta, La terra vista dalla luna.

Screening: L’Eclisse (Antonioni, 1962)

Readings:
1) David John Rhodes, The Eclipse of Place: Rome’s EUR from Rossellini to Antonioni, in John David Rhodes, Elena Gorfinkel (eds.), Taking Place: Location and the Moving Image, University of Minnesota Press, 2011 (handout).

2) Iacopo Benci, Michelangelo’s Rome: Towards an Iconology of L’Eclisse, in Cinematic Rome, cit.

3) Home full viewing La decima vittima (Petri, 1965)

Week 10,
Class discussion. Modernist Rome. Group Presentation EUR

Screening: Caro Diario (Moretti, 1993).

Readings:

Lesley Caldwell, Centre, Hinterland and the Articulation of ‘Romanness’ in Recent Italian Film, in Rome, Postmodern Narratives of a Cityscape, cit., pp. 57-67.


Week 11.
Class discussion. New representations of Roman Hinterland, Group Presentation 2: Borgate and Roman Hinterland.
QUESTIONNAIRE 2 DUE

No Class- Make up
 Friday 17th Cinecittà field trip

Assignments:

1) Home viewing  Romanzo Criminale.

2) Lesley Caldwell, Centre, Hinterland and the Articulation of ‘Romanness’ in Recent Italian Film, in Rome, Postmodern Narratives of a Cityscape, cit., pp. 71-77.

3) Web research on ‘Mafia Capitale’ scandal (December 2014).

SPRING BREAK

Week 12.

Class discussion. Local representation of the dark side of modern and postmodern Rome. Group Presentation 3:  Trastevere and its cinematic landscape.

Screening Le fate ignoranti (Őzpetek, 2001)
Friday April 17th Cinecittà field trip (mandatory)

Readings:

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

2) Keala Jewell, A Postmodern Gaze on the Gasometer, in Rome, Postmodern Narratives of a Cityscape, cit, , pp.119-136.

Week 13.

Class discussion: Global Rome: the space of different subjectivities. Group Presentation 4: Ostiense and the Gazometro.

Screening: La grande bellezza (Sorrentino, 2013).

Week 14

Class discussion. Center and Periphery in contemporary Italian cinema: La grande bellezza vs. Sacro GRA (Rosi, 2013). Conclusions

Review for Final Exam

 

LOCATIONS FOR GROUP PROJECTS:
1) EUR
2) PIGNETO/ BORGATE/NEW ROMAN PERIPHERIES
3) OSTIENSE/GAZOMETRO/CENTRALE MONTEMARTINI
4) TRASTEVERE/PIAZZA VENEZIA/ FORI IMPERIALI